Jotaro helping Chaika.
Spring 2014 Tokyo MX, er, Anime |OT1.5| ORAORAORAORAORAORAORAORAORAORA
- Thread starter Mandoric
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Jotaro helping Chaika.
Yare yare...
Cocoa in Daimidaler. It'd be the first robot powered by a love of fluffy things.
R_thanatos
Member
Sorry but there is no point in comparing apple to oranges.
they have both different sources and different way to tell their stories.
i cannot accept that you're comparing the entire set of 12 eps of madoka against the first 4 eps of black bullet. This would be valid if you took black bullet entire anime experience against another anime...but in this case it fails
This is like if you compare bleach first arc to the entire full metal achemist saga.
It doesn't make sense.
Sorry , but i'm going to ask :
What did tell you that the main vilain of the first won't be back later ? what make you think this is over? What garantee did you have that this vilain would be there for the whole duration of the black bullet anime ? What , from a plot point of view gave you anything that prevent an arc like this to be over ? And prevent another antagonist to be introduced ?
I honnestly feel that your problem is that the cool vilain you got was defeated too quickly for your tastes..However , there is NOTHING, that can't happen at this point.What made you think that this ennemy would be there the whole time ? He wasn't even notorious;..nobody knew him before he stormed that reunion in episode 2. There was no forshadowing in any way that he would last , no organisation , no big scheme , no manipulating , nothing where did you get that idea ( from the first 4 eps ? ) ?
Enju crisis had a cause ( shown in ep 3 ) that related to the acceptance of her by normal humans , this issue is still in the air , not solved. This is a ongoing subplot. and it was NEVER meant to be solved in 1 arc. You believe that everyone just Forgot about it ? Then why don't you watch episode 5 and you'll see that this issue is still on the table .
Isn't the problem about the old man the VERY SAME THING ? Again this was discussed in the first scene of episode 3... why can't you just accept that it's the theme of this story ?
Also the two police officer that shoot the girl , got away without trouble... so no it wasn't "solved"
This is a brilliant idea!
R_thanatos
Member
Akuma no riddle - 05
i'm beginning to understand that if there was a decent assasin in that classroom , the serie would be over at episode 2...
Well there is still people in this classroom so maybe 1 or 2 would be actual treats for the main couple.
i'm beginning to understand that if there was a decent assasin in that classroom , the serie would be over at episode 2...
Well there is still people in this classroom so maybe 1 or 2 would be actual treats for the main couple.
Jotaro in anything else.
Yare yare daze
Not sure how boring-senpai is superior to any girl on that show... even her Grandmother is a more interesting character.
Hase-Kun <-> Rentaro
AnathemicOne
Banned
What? I'm comparing the first 4 episodes of Madoka Magika with the first 4 episodes of Black Bullet, the point of comparison is that Kyubey's
villain-status and/or motives
You didn't feel that the main villain introduced and one-offed in the first arc here wasn't the main antagonist of the series so far? From the beginning of episode 1 we are introduced to him already killing city protection and he upholds an enigmatic/aloof aura to him with an equally enigmatic/aloof goal of "ending the world". Episode 2 a conference is held between arguably all the main characters relevant to the current plot (IE all the Protectors, their Initiators, and respective company presidents, Old Guy Advisor, and Ruling Official) to which the antagonist shows up again and shoots up the place with guaranteed wounds (perhaps casualties) and disappears further cementing his position as the antagonist for not only the MC but all the other Protectors/Initiators revealed (explicitly ordered by the Ruling Official). Episode 3 we have him show up again and win in a battle resulting in the MC essentially dying. Then Episode 4 we have him show up in a second confrontation but with him losing, however his goal (
the summoning of the Gaestra
None of these summaries cry out main antagonist to you? I find that hard to believe.
Yes its a subplot but as we've already discussed, every other damn element/aspect in the series be it plot or element or even both sets no precedence for this subplot to be elaborated further on. Because every other plot, element, or even both in this show so far has already been resolved. Let's go down the list:
Other Protectors treating their Initiators as tools? Done, they're all killed off by the antagonist.
Crisis concerning the possibility of summoning level 5 Gaestra? Done, level 5 Gaestra summoned anyway.
Crisis concerning the newly-summoned level 5 Gaestra? Done, level 5 Gaestra killed off.
Antagonist's "end of the world" plan? Double done, plan succeeded but Gaestra killed off.
Antagonist's reason for such a plan? Done, he was in cahoots with Old Man Advisor.
Ignorant Cops taking and executing Cursed Child? Done, child was saved and is with some doctor.
Crisis concerning the possibility of summoning level 5 Gaestra? Done, level 5 Gaestra summoned anyway.
Crisis concerning the newly-summoned level 5 Gaestra? Done, level 5 Gaestra killed off.
Antagonist's "end of the world" plan? Double done, plan succeeded but Gaestra killed off.
Antagonist's reason for such a plan? Done, he was in cahoots with Old Man Advisor.
Ignorant Cops taking and executing Cursed Child? Done, child was saved and is with some doctor.
This only leaves Enju's subplot left. From the above there is no precedence that this subplot isn't solved also when arguably the crisis-issues took precedence over this mere subplot in terms of importance.
And no the epilogue of Episode 4 does not count because it is an epilogue, its supposed to be a lead-in to future installments, in this case the next episode. This relates back to Episode 4 executing like the end of a long-running anime into a supposed Season 2 instead of being a mere conclusion of a story arc.
Hellsing321
Member
This must be the work of an enemy stand.
R_thanatos
Member
Akuma no riddle - 06
Btw that was probably the BEST Romeo & juliet i had seen in anime those last 5 years... highly powerfull and sentimental.
I asked for competent characters , so why , show are you giving them to me , only to take them away ?
Trully the best follow-up possible !
Btw that was probably the BEST Romeo & juliet i had seen in anime those last 5 years... highly powerfull and sentimental.
"Is there any treatment!?"
"My stand will be the judge! ORAORAORAORAORAORAORA!!!!!!!"
hipsterpants
Member
Fate/Zero 9
I'm gonna be honest, the whole
thing just feels like it's trying a bit too hard to be horribly evil. The first
It's like some Akame ga Kill levels of "look how eeevvvviiilllll these guys are" and just coming off as comedic.
In other news I am not worthy of Lancer, what a man ;_;.
I'm gonna be honest, the whole
horrific child murder
kid getting killed in episode 2 was actually horrific, but everything else seems a bit ridiculous. Like this episode when Waver and Rider go into the sewer and suddenly horrifically mutilated child corpses everywhere.
In other news I am not worthy of Lancer, what a man ;_;.
The manga is way worse.
hipsterpants
Member
For AgK or Fate/Zero? I actively read AgK for some strange reason. I guess to see how awful it can get.
I'm watching Fate/Zero on Netflix and it's uncensored. When I watched the first half a year or so ago it was the censored version. I think I preferred that one lol.
I could certainly see Jotaro using Star Platinum to forcibly rip mushi out of people the same way he does with Dio parasites.
I don't know that I'd fancy Ginko's chances in the Jojoverse, though...
Fate zero
Unknown One
Member
Because he's a flat boring character like the girl he likes.
Why are you obsessed with the wrong girl, protag-kun????
Ginko's stand is 「Heart-Shaped Box」. This stand takes the appearance of a tall wooden box that can be worn on the user's back. It's ability allows it to retrieve a cure for any disease or injury.
Hey. Wait. I got a new complaint!
I'm guessing he'd be fine at spotting and understanding stands, but probably needs someone else to actually fight against them.
Now I'm sort of wondering about (young) Joseph swapped with anyone else.
dakkumauji
Member
Bokura wa Minna Kawaisou 08
After an awkward DRAMA moment, this moment.
Ginga e Kickoff!! 29
That strategy to get the other team to tire themselves out.
Atelier Escha & Logy 07
God this is still very ugly. And trying to cram two different stories from two different games really made it tacky.
After an awkward DRAMA moment, this moment.
Ginga e Kickoff!! 29
That strategy to get the other team to tire themselves out.
Atelier Escha & Logy 07
God this is still very ugly. And trying to cram two different stories from two different games really made it tacky.
Well considering nobody has talked about the Trigger Panel at Animazement, I figure I'll write out some quick points-
-Recent LWA2 script got thrown out.
-LWA2 now that's it not restrained by Mirai will have more 'experienced' animators on it
-LWA had ~20 animators working on it while KLK had over 200. They had more flexibility with LWA compared to KLK which was treated more as a business.
-At the current time, they're not planning on using Kickstarter again
-Yoshinari hates Akko and likes Diana instead. Has to do with Diana being closer to his personality.
-Michiru Oshima is from the Russian State Symphony Cinema Orchestra and she gave Trigger a discount
-Apparently correcting the younger animators was rather difficult for Yoshinari
-They have ideas for Inferno Cop 2 but no budget for it
-For KLK, Imaishi would bring in action figures and that would be a point of inspiration. Like Iron Man for example.
Oh and this was the best part:
Yoshinari described Imaishi's directing style as skanky and perverted while he aspires to be a gentleman.
-Recent LWA2 script got thrown out.
-LWA2 now that's it not restrained by Mirai will have more 'experienced' animators on it
-LWA had ~20 animators working on it while KLK had over 200. They had more flexibility with LWA compared to KLK which was treated more as a business.
-At the current time, they're not planning on using Kickstarter again
-Yoshinari hates Akko and likes Diana instead. Has to do with Diana being closer to his personality.
-Michiru Oshima is from the Russian State Symphony Cinema Orchestra and she gave Trigger a discount
-Apparently correcting the younger animators was rather difficult for Yoshinari
-They have ideas for Inferno Cop 2 but no budget for it
-For KLK, Imaishi would bring in action figures and that would be a point of inspiration. Like Iron Man for example.
Oh and this was the best part:
Yoshinari described Imaishi's directing style as skanky and perverted while he aspires to be a gentleman.
Oh, is this trying to tackle Ayesha stuff too then?
Best taste.
R_thanatos
Member
Listen, there is not one way to tell a story.
You can start a story with an defined antagonist , or you can make one of your characters be one , as part of his character develloppement. Or even introduce your main antagonist in your 2nd or 3rd arc and keep your first for world building. There are all kind of possibilities.
Having or not having seen your main antagonist after 4 eps doesn't matter.it's certainly not a matter that you can use to mesure one serie pacing to another , since every anime doesn't necessary use the same model to tell his story.
He was the main antagonist of this arc , but the arc is over.
I repeat . IT's OVER!
His role was fullfilled , he is now gone. You need to accept that possibility
There is more arcs to tell , more stories to tell , more characters to introduce , black bullet will have another antagonist , another focus and so on.
And what do you mean "of the series so far " ? so far what ? it was the first arc !
There was no indication or forshadowing that his role would go over this arc ? There is no reason to reject that this arc is over and that his role is /might be over.
let's go over the list
Other Protectors treating their Initiators as tools? Done, they're all killed off by the antagonist.
Except that the whole system is still in place and the cause of the problem is still there.
You think that there won't be another protector getting put in action that won't make the same mistake ? how naive.the anime pointed numerous times that the entire society need convincing.
Crisis concerning the possibility of summoning level 5 Gaestra? Done, level 5 Gaestra summoned anyway.
And we know nothing of why they are summoned with this item . this is even a question left for later "by the princess itself". You are telling me that this isn't a open subplot ? the anime itself is telling you that.
Crisis concerning the newly-summoned level 5 Gaestra? Done, level 5 Gaestra killed off.
Yeah yeah probelm solved. there are just 11 of them still around. and no way to use the cannon again . Problem solved, right ? right ?
Antagonist's reason for such a plan? Done, he was in cahoots with Old Man Advisor.
And old man is still there. Cleary this character won't be used again /s
Except that the whole system is still in place and the cause of the problem is still there.
You think that there won't be another protector getting put in action that won't make the same mistake ? how naive.the anime pointed numerous times that the entire society need convincing.
Crisis concerning the possibility of summoning level 5 Gaestra? Done, level 5 Gaestra summoned anyway.
And we know nothing of why they are summoned with this item . this is even a question left for later "by the princess itself". You are telling me that this isn't a open subplot ? the anime itself is telling you that.
Crisis concerning the newly-summoned level 5 Gaestra? Done, level 5 Gaestra killed off.
Yeah yeah probelm solved. there are just 11 of them still around. and no way to use the cannon again . Problem solved, right ? right ?
Antagonist's reason for such a plan? Done, he was in cahoots with Old Man Advisor.
And old man is still there. Cleary this character won't be used again /s
And enju matter with her living a normal life is still widely UNSOLVED.
Clearly no subplot that were started are left over for later . i wonder why there was 6 more books written , then.
Wait i was under the impression that there was nothing left to tell since everything was solved already ? Oh wait it doesn't count , right ?
I'm going to stop here. ( because i'm going to sleep ) . Feel free to continue if you want , but i believe i've made my point and my arguments about this clear .Particulary about the plots , sub plots, motives, antagonist and the pace of the first arc..To think that at first i quoted you for calling plot holes that weren't there in the first place.i didn't expect this discussion to be this long.
Hellsing321
Member
So they have exactly as much as they need for it.
HORRIBLE TASTE!
Typographenia
Member
This seems to be turning into my bi-yearly post in the anime threads here, haha.
Jin-Roh: The Wolf Brigade
Jin-Roh was one of those anime that I had always felt guilty not having seen. It seemed like a rather well-received film when I would glance conversation of it. Not to mention it has Mamoru Oshii behind it. Not knowing much about the story itself, I was quite excited to sit down and spend some time in this film's world, but I found myself a little disappointed. Were my expectations too high or did this movie simply fall short?
Story
Jin-Roh opens with an exposition to set up this alternative timeline post-WWII where a divided Japan sees fights in the streets between the anti-government, guerilla group, "The Sect," and authorities from a local Public Security and a para-military force, Capitol Police Organization. The CAPO are nightmarish looking soldiers that are equipped with heavy armor, chain guns, and glowing, red-eyed gas masks. These soldiers are self-proclaimed "guardians of public order" that are conditioned to execute efficiently and lethally.
The fighting doesn't take place just on the streets, however, as we soon learn that there are tensions and squabbles over jurisdiction between the Public Security and CAPO sides that reach a climax during the opening scenes of the movie. During an anti-goverment demonstration-turned-riot, Corporal Kazuki Fuse of the CAPO heads off a "Red Riding Hood" (young woman that delivers satchel charges and other incendiary explosives to members of the Sect) in the lower sewers of the city, but he can't bring himself to pull the trigger on the girl. She uses this indecision to trigger the explosives on her, knocking out power in the area and causing structural damages. The local Public Security is not pleased that CAPO has both over stepped their boundaries and botched the situation.
Presentation
This is another great looking product out of Production I.G.. Much of the animation involving gun battles, hands, and facial communication have a broad range from subtle to very expressive. This was especially important since half of the film consists of its cast staring thoughtfully into space or at something. I have long enjoyed Oshii's use of pauses and giving the audience and the characters time to mull over a scene.
The color palette is extremely muted with the vibrant, red eyes of the CAPO being the only exception that comes to mind. Even the
that appear have lost their luster, giving the entire world a sense of oppression and bleakness. The scenes taking place at twilight, dusk, or the end of a storm were quite beautiful to see, and the studio definitely knew it. They got the most out of every scene at those times, and it was much appreciated.
The voice cast did a respectable job with their parts, but the moments that called for the most desperate anguishes of the actors left me wanting. The sound design was solid all the way through, and it really helped to set the atmosphere for the work quite nicely. The biggest glaring issue in the entire film's audio was the gunfire, however. It reminded me of an edited version of Die-Hard I had seen on television years ago where the gunfire had been lowered or omitted to reduce the effect. The heavy weaponry sounded muffled and quieter than it should have, and the regular gunfire consisted of sounds that could have been far better in 1999.
Reading that Oshii had originally slated this to be a live action film is quite evident, as there was not anything in the film that was exceptionally served being animated. The CAPO suits looked great, but that was about as far removed from live action as the entire film ever became. That's not to say this should not have been an animated feature, but it felt like this played things too straight visually.
Final Thoughts
"We are not men disguised as mere dogs. We are wolves, disguised as men."
Jin-Roh has some good ideas in it and the kind of philosophical mulling that you would expect from Oshii, but the short comings drag it down from the heights it should have reached. Though the message can be broadcast in the most obtuse way at times, the power behind its delivery and atmosphere of the world make watching this a valuable experience. I wouldn't recommend this as someone's first encounter with Oshii's work, but it is still worth checking out.
Jin-Roh: The Wolf Brigade
Jin-Roh was one of those anime that I had always felt guilty not having seen. It seemed like a rather well-received film when I would glance conversation of it. Not to mention it has Mamoru Oshii behind it. Not knowing much about the story itself, I was quite excited to sit down and spend some time in this film's world, but I found myself a little disappointed. Were my expectations too high or did this movie simply fall short?
Story
Jin-Roh opens with an exposition to set up this alternative timeline post-WWII where a divided Japan sees fights in the streets between the anti-government, guerilla group, "The Sect," and authorities from a local Public Security and a para-military force, Capitol Police Organization. The CAPO are nightmarish looking soldiers that are equipped with heavy armor, chain guns, and glowing, red-eyed gas masks. These soldiers are self-proclaimed "guardians of public order" that are conditioned to execute efficiently and lethally.
The fighting doesn't take place just on the streets, however, as we soon learn that there are tensions and squabbles over jurisdiction between the Public Security and CAPO sides that reach a climax during the opening scenes of the movie. During an anti-goverment demonstration-turned-riot, Corporal Kazuki Fuse of the CAPO heads off a "Red Riding Hood" (young woman that delivers satchel charges and other incendiary explosives to members of the Sect) in the lower sewers of the city, but he can't bring himself to pull the trigger on the girl. She uses this indecision to trigger the explosives on her, knocking out power in the area and causing structural damages. The local Public Security is not pleased that CAPO has both over stepped their boundaries and botched the situation.
While visiting the grave of the martyr girl, Fuze ends up running into the older sister, Kei, who catches his interest due to her family resemblance. The young girl haunts Fuze's dreams leaving him to question his own actions and humanity. The two begin bonding as they visit locations significant to Kei, talk about the fading memories of the city and other people, and get caught in the rain together.
However, this is all being carefully orchestrated by the Public Security to bring down the CAPO by means of humiliation and scandal. Kei was once a red riding hood that the Public Security is forcing to assist them by faking a bomb transfer to Fuze and exposing the couple. A few of the CAPO heads are in cahoots with them, helping to push things along, but Fuze is alerted to their tricks by an unknown informant.
Fuze and Kei attempt to escape the reaches of their enemies, and meet up with Fuze's old instructor. It turns out that Fuze is a member of a very secret group within the CAPO that had anticipated the Public Security's attempt to undermine their power and planned a counter-intelligence strike. The old switcheroo! Fuze eliminates his enemies, no longer afraid of pulling the trigger, and is faced with having to kill Kei, as well. His instructor tells him it is necessary to protect their group, while Kei pleads that she wanted to have a place in his heart. Fuze pulls the trigger, killing Kei and his last chance for humanity.
However, this is all being carefully orchestrated by the Public Security to bring down the CAPO by means of humiliation and scandal. Kei was once a red riding hood that the Public Security is forcing to assist them by faking a bomb transfer to Fuze and exposing the couple. A few of the CAPO heads are in cahoots with them, helping to push things along, but Fuze is alerted to their tricks by an unknown informant.
Fuze and Kei attempt to escape the reaches of their enemies, and meet up with Fuze's old instructor. It turns out that Fuze is a member of a very secret group within the CAPO that had anticipated the Public Security's attempt to undermine their power and planned a counter-intelligence strike. The old switcheroo! Fuze eliminates his enemies, no longer afraid of pulling the trigger, and is faced with having to kill Kei, as well. His instructor tells him it is necessary to protect their group, while Kei pleads that she wanted to have a place in his heart. Fuze pulls the trigger, killing Kei and his last chance for humanity.
Presentation
This is another great looking product out of Production I.G.. Much of the animation involving gun battles, hands, and facial communication have a broad range from subtle to very expressive. This was especially important since half of the film consists of its cast staring thoughtfully into space or at something. I have long enjoyed Oshii's use of pauses and giving the audience and the characters time to mull over a scene.
The color palette is extremely muted with the vibrant, red eyes of the CAPO being the only exception that comes to mind. Even the
amusement park and the playground
The voice cast did a respectable job with their parts, but the moments that called for the most desperate anguishes of the actors left me wanting. The sound design was solid all the way through, and it really helped to set the atmosphere for the work quite nicely. The biggest glaring issue in the entire film's audio was the gunfire, however. It reminded me of an edited version of Die-Hard I had seen on television years ago where the gunfire had been lowered or omitted to reduce the effect. The heavy weaponry sounded muffled and quieter than it should have, and the regular gunfire consisted of sounds that could have been far better in 1999.
Reading that Oshii had originally slated this to be a live action film is quite evident, as there was not anything in the film that was exceptionally served being animated. The CAPO suits looked great, but that was about as far removed from live action as the entire film ever became. That's not to say this should not have been an animated feature, but it felt like this played things too straight visually.
Final Thoughts
"We are not men disguised as mere dogs. We are wolves, disguised as men."
While I did not dislike Jin-Roh, I found it to be an incredibly lacking experience compared to Oshii's other works I have seen. Fuze is supposed to be an emotionless soldier carrying out orders, but it made him a very difficult protagonist to travel with. He felt oddly disconnected from the actions playing out on screen, despite everyone telling me to the contrary that he was the center of it all.
Overall, I feel like the movie could have benefited from being about 15-30 minutes longer to properly explore the cast more. The film had all of the makings for a decent intellectual piece, but it was missing a heart to it that most of his other movies did, and I believe it was the lack of substance in the characters. Perhaps that gets too far away from Oshii's intents about Fuze's decision to ultimately refuse change and humanizes the characters too much. However, I feel my own investment in the outcome of the story and the choices the characters make would have mattered more if there had been more for me to latch onto.
Oshii's use of the Little Red Riding Hood story was both clever and overwhelmingly blunt. Much of the visual symbolism felt so forced that it was hard to stomach- from the red cloaked girls just called "red riding hoods" to Fuze's wolf-filled nightmares and meeting places. However, the interspersed moments where Fuze and Kei spoke the actual storybook lines felt very powerful, and it was very effective on the tail of the movie.
The aspects regarding memory of people was the most interesting part of the movie. It was only verbally touched on twice, but the visuals certainly carried it through the design of the world, Fuze being haunted by the memory of the dead Sect girl, revisiting significant places from characters' pasts and the past of the film's timeline, and even the humanity vs. beast theme. In the end, Fuze sacrifices his chance at humanity, and this is perhaps because he had been a part of CAPO for so long he had forgotten what it meant. Every time Kei attempted to pull Fuze along with her or make some kind of contact was met with an apathetic unfamiliarity. Later, the glimpses of his humanity begin to bubble up, but they soon pop as he is guided to the conclusion of events by the people higher up.
Perhaps the saddest part of Jin-Roh comes in the last ten minutes of the story when we learn that Kei and Fuze were both aware of the circumstances around them. Both of these characters allow themselves to be used by the powers that be to carry out their plans because they think it will give them what they ultimately wanted. Kei wanted to be remembered, to have a place in Fuze's heart, and she believed this was coming to fruition by continuing to carry out the Public Security's plan to deceive him. Fuze simply wants to belong, and by fulfilling the desires of CAPO, he will have this granted at the cost of his own humanity.
Overall, I feel like the movie could have benefited from being about 15-30 minutes longer to properly explore the cast more. The film had all of the makings for a decent intellectual piece, but it was missing a heart to it that most of his other movies did, and I believe it was the lack of substance in the characters. Perhaps that gets too far away from Oshii's intents about Fuze's decision to ultimately refuse change and humanizes the characters too much. However, I feel my own investment in the outcome of the story and the choices the characters make would have mattered more if there had been more for me to latch onto.
Oshii's use of the Little Red Riding Hood story was both clever and overwhelmingly blunt. Much of the visual symbolism felt so forced that it was hard to stomach- from the red cloaked girls just called "red riding hoods" to Fuze's wolf-filled nightmares and meeting places. However, the interspersed moments where Fuze and Kei spoke the actual storybook lines felt very powerful, and it was very effective on the tail of the movie.
The aspects regarding memory of people was the most interesting part of the movie. It was only verbally touched on twice, but the visuals certainly carried it through the design of the world, Fuze being haunted by the memory of the dead Sect girl, revisiting significant places from characters' pasts and the past of the film's timeline, and even the humanity vs. beast theme. In the end, Fuze sacrifices his chance at humanity, and this is perhaps because he had been a part of CAPO for so long he had forgotten what it meant. Every time Kei attempted to pull Fuze along with her or make some kind of contact was met with an apathetic unfamiliarity. Later, the glimpses of his humanity begin to bubble up, but they soon pop as he is guided to the conclusion of events by the people higher up.
Perhaps the saddest part of Jin-Roh comes in the last ten minutes of the story when we learn that Kei and Fuze were both aware of the circumstances around them. Both of these characters allow themselves to be used by the powers that be to carry out their plans because they think it will give them what they ultimately wanted. Kei wanted to be remembered, to have a place in Fuze's heart, and she believed this was coming to fruition by continuing to carry out the Public Security's plan to deceive him. Fuze simply wants to belong, and by fulfilling the desires of CAPO, he will have this granted at the cost of his own humanity.
Jin-Roh has some good ideas in it and the kind of philosophical mulling that you would expect from Oshii, but the short comings drag it down from the heights it should have reached. Though the message can be broadcast in the most obtuse way at times, the power behind its delivery and atmosphere of the world make watching this a valuable experience. I wouldn't recommend this as someone's first encounter with Oshii's work, but it is still worth checking out.
Thanks for the panel report.
I would ask if you could try to get as much info out of them as you can on that upcoming Inou-Battle LN adaptation they're doing, but they probably won't be able to say anything about it.
Maybe just ask what lessons they feel like they learned as a studio after completing their first full TV series and how they'll use them to improve going forwards.
Oh god, someone actually asked that? Uuuuuuugh...
What the hell were those 200 people doing the whole time? Were they all keyframe animators or something?
Some other stuff:
-Yoshinari was supposedly strict on the newbies for LWA. Feels that the number of good animators are dying out. Was difficult for him as well.
-CGI in Episode 3 of KLK wasn't due to time or budget restrictions but rather the complex camera angles they wanted to use.
-Kaneko was saying that he ran into some conflicts with Sushio. Apparently Sushio is 'to the point' or something, in that the way it was translated made it sound like he was either demanding or strict. Same with Imaishi.
-Kaneko oversaw the outsourcing of the background art for KLK in that he seemingly hand-picked the animators. I can't remember how many but I think it was between 10-20.
-Kaneko listened to rock music (Linkin Park, Chemical Brothers) while doing the background stuff for KLK
-Kaneko used watercolors and brushes for the live demonstration. Imaishi (in production) wanted to see the brush strokes in the art.
-Kaneko worked on Ghost in the Shell and Mononoke(I think the Ghibli film). Both aren't listed in the ANN database for him.
-KLK was being worked on for three years. I'm assuming that's pre-production stuff.
-As to how they did Ragyo's rainbow hair, apparently there's some sort of predefined setting that they nicknamed 'the Ragyo effect' in the office.
Also there was something about how Yoshinari had talked to his wife and she brought up the idea of magic and that served as the inspiration point for LWA.
-Yoshinari was supposedly strict on the newbies for LWA. Feels that the number of good animators are dying out. Was difficult for him as well.
-CGI in Episode 3 of KLK wasn't due to time or budget restrictions but rather the complex camera angles they wanted to use.
-Kaneko was saying that he ran into some conflicts with Sushio. Apparently Sushio is 'to the point' or something, in that the way it was translated made it sound like he was either demanding or strict. Same with Imaishi.
-Kaneko oversaw the outsourcing of the background art for KLK in that he seemingly hand-picked the animators. I can't remember how many but I think it was between 10-20.
-Kaneko listened to rock music (Linkin Park, Chemical Brothers) while doing the background stuff for KLK
-Kaneko used watercolors and brushes for the live demonstration. Imaishi (in production) wanted to see the brush strokes in the art.
-Kaneko worked on Ghost in the Shell and Mononoke(I think the Ghibli film). Both aren't listed in the ANN database for him.
-KLK was being worked on for three years. I'm assuming that's pre-production stuff.
-As to how they did Ragyo's rainbow hair, apparently there's some sort of predefined setting that they nicknamed 'the Ragyo effect' in the office.
Also there was something about how Yoshinari had talked to his wife and she brought up the idea of magic and that served as the inspiration point for LWA.
This only says bad things about KLK.
Since when has Inferno Cop needed a budget?
Yoshinari described Imaishi's directing style as skanky and perverted while he aspires to be a gentleman.
Best TRIGGER director.
firehawk12
Subete no aware
It's too bad.
Unknown One
Member
It's too bad.
I dropped the show because of that. She's boring and he's boring. I'd rather have the hobo guy be the protagonist and any other girl be the main girl, yes even the grandma would be more entertaining.
I literally facepalmed and cringed.
dakkumauji
Member
No, they are just shoehorning in Wilbel into the plot so they tacked on Linca's character events from Ayesha into this episode expect it had no resolution and just ended on a weird note.
AnathemicOne
Banned
Yes there's not one way to tell a story, that would be rather boring tbh. However there are proper and improper ways of telling one and Black Bullet is an offender to the former with its rushed pacing (the argument I'm presenting). For in simple objective purposes, a rushed story isn't a good story.
My argument is based on my reaction of the first 4 episodes leaving a bad taste in my mouth so to speak. Yes you have already clarified one of my problems I originally stated but this one of pacing is still up in the air (hence this ongoing argument).
An arc (especially an introductory one) of any series should not, I repeat, should not have the leverage to stand on its own as a main story. That defeats the purpose of the arc entirely, might as well constitute its own independent story right? But with Black Bullet's first arc this is what exactly is happening. You have already introduced the "main villain", you have already seen what said villain is capable of and his goal revealed ontop of that. You have already seen the character "progression" of losing to the villain and eventually defeating him. You have already seen the villain at first succeeding but ultimately failing. You have already seen a major threat being averted. All these things exist in the first arc and all these things ultimately can exist as its own main story. That is my issue, the pacing is off and feels rushed to hell.
Reference material the show is built on is irrelevant because I'm arguing its execution in the anime. For easy comparison let's say Black Bullet is one of The Hobbit movies. I hate on The Hobbit movies due to its poor execution as a movie and bring up other movies as reference such as The Lord of the Rings, I don't bring up the book because I haven't read the damn book. Thus there is no point in arguing against me by bringing up the damn book because I haven't referenced the damn book at all because I haven't read the damn book. Relating to Black Bullet, I haven't read the damn LN.
And you're repeatedly ignoring my counterargument which at my very post you quoted me on is that Episode 4 by itself is executed in a similar manner to that of an ending episode to a long-running anime. With that in mind please recognize I'm not arguing the anime is closed off permanently of further development, but that the anime's manner of closure of its many plot elements in its rushed manner indicates a rushed pacing which indicates poor story execution.
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