Anime has changed. It's no longer about Cowboy Bebop, Tenchi Muyo or Sailormoon. It's an endless series of moe battles fought by Otaku's on the net. Anime - and its consumption of moe - has become a well-oiled machine. Anime has changed. moe characters carry moe phrases and use kawaii desu and nyan. Moe inside the screen poisons yet regulates anime. Moeblob control. Furry control. Loli control. Fanservice control. Everything is moe and kept under control. Anime has changed. The age of moe has become the age of control... All in the name of averting catastrophe from anime being dead. And he who controls the otaku... controls anime. Anime has changed. When the battlefield is under total control... moe becomes routine.
Anime has changed. It's no longer about Cowboy Bebop, Tenchi Muyo or Sailormoon. It's an endless series of moe battles fought by Otaku's on the net. Anime - and its consumption of moe - has become a well-oiled machine. Anime has changed. moe characters carry moe phrases and use kawaii desu and nyan. Moe inside the screen poisons yet regulates anime. Moeblob control. Furry control. Loli control. Fanservice control. Everything is moe and kept under control. Anime has changed. The age of moe has become the age of control... All in the name of averting catastrophe from anime being dead. And he who controls the otaku... controls anime. Anime has changed. When the battlefield is under total control... moe becomes routine.
Moe is bound up with visual image (there is an interesting analysis and discussion of this aspect on the Heisei Democracy blog) but not restricted by it. Character and story function are more powerful. The budding aspect of the term requires that a character attracting moe should be in an emergent or transitional state, hence younger and less powerful even than the one the audience identifies with. The characters potential is undefined, although hints of some past mystery, enormous potential power or talent are often present. But whatever gifts the beautiful infant may possess, its entire life will be defined and determined by its relationships, and its protective father or big brother, though quite possibly insignificant in every other way, will thus be the central figure in its story.
Young men who choose to cut themselves off from mainstream society, whose main areas of activity and interest are the carefully crafted, controllable worlds of entertainment, seem to be strongly drawn to these artificial dream-babies. They buy in to a powerful fantasy of acceptance and adoration by a perpetually dependent, unchangingly adorable, sexually undemanding creature whose world will forever revolve around them.
That intent was strange. And talking about this, some days ago I saw a report on NHK WORLD that presented facts about this project and the resurrection of the interest for toy companies in financing completely new animated shows.
Apparently, BANPRESTO not only put the 100% of the budget, but also various particular premises to take better advantage of the product (although at first they said to them "do what you like"), like "how many characters would be in it" or "what particular traits each character would have" and similar things that Toei Animation and Rie Matsumoto had to abide. The funny thing was when they mentioned the playful bickering between them, with anecdotes like "we in BANPRESTO wanted the protagonist to have an over-sized weapon, but when they presented us the design and we saw that this weapon was transparent with differently sized balls inside, we were thinking how exactly we were going to manufacture cheaply such a thing for a simple capsule toy" and many others. In the end, they said they liked the experience in collaborating with each other, though.
Of course, they planned exhaustively what type of product to make and what demographics appeal to; "Late-teens-to-mid-20's on both genders" was mentioned, based in their statistics on majority of users from their bpnavi.jp platform (that has 2 million users approx.), and this was why they used primarily a video streaming method of immediate distribution for it.
The most interesting things said is that, according to BANPRESTO's Shigeru Hirata, their biggest desire is to make either a series or a movie, they want to do it for sure, but they'll have to wait and see the reception for this project before. And that they are also waiting for more works to be made this way. Time will tell!
Thanks for the info. Knowing that its creation was this marketing-driven explains not only why Banpresto's logo showed up so prominently and randomly, but also why the short felt cobbled together in general. I appreciate that toy companies are supporting creativity in this manner, but I hope that if they do expand on Kyousogiga down the line, they don't obsess so much over opportunities to sell toys that they fail to present its world in a coherent fashion.
This is may have been my first outing with a Makoto Shinkai but I basically knew what I was getting myself into. Regardless of any arguments about this particular style of story it's pretty easy to see that Shinkai is a skilled director with a strong understanding of visual storytelling. He seems to be one of the few directors to actively use camera effects like: blur, pulling focus and depth of field appropriately.
He also has an interesting ability to construct a 'hyper real' world where even dull, boring locations are made to look beautiful and to make beautiful locations appear outstanding, a lot of this can be attributed to the lighting and use of colour. I'd post some pictures, but I believe you're all familiar with the style.
At present, I don't really care for the way the movie ends. It didn't have quite the strength or substance of the way the second 'episode' concluded, which meant the movie as a whole had an odd emotional structure for me.
I couldn't really get to grips with the protagonist, which might be where the problems arise.
I understand that he's spent his life pining for this girl, but whenever we see him he seems oddly detached from everyone around him, which may well be the point. But still, he seems to have been interested in people in the past and has had an off-screen relationship, but apart from that I can't even picture him sitting down with friends to watch a movie. He's just busy brooding somewhere.
In the end we see him smile, presumably suggesting that he's moved on from his obsession. I can't really say that I'm convinced about that, but as the movie is 60 minutes long there's not really any time for covering any more ground.
Also, the modern world has pretty much ruined these particular romantic moments and expressions. Everyone has mobile phones and email, so charming things such as letters and being completely separated from another person are now fairly uncommon.
Also, the modern world has pretty much ruined these particular romantic moments and expressions. Everyone has mobile phones and email, so charming things such as letters and being completely separated from another person are now fairly uncommon.
This is may have been my first outing with a Makoto Shinkai but I basically knew what I was getting myself into. Regardless of any arguments about this particular style of story it's pretty easy to see that Shinkai is a skilled director with a strong understanding of visual storytelling. He seems to be one of the few directors to actively use camera effects like: blur, pulling focus and depth of field appropriately.
5 Centimeters might be better on this score, but Voices and Place Promised didn't convince me that Shinkai actually is a skilled director. He unquestionably has a great eye for visual beauty, and makes every single shot of his atmospheric, like a painting. His visuals don't feel well connected with the stories he's trying to tell, however. They are overpowering to the extent where I lose sight of the characters and dialogue and events; I feel disconnected from them all and wish everyone would just shut up so I can stare at the clouds. If Shinkai wants to tell a story, he needs someone to reign his and direct his obsessions so that his beauty can serve the storytelling.
I guess Horror gets off marginally better because they can pull the whole 'phone ran out of battery/out of range' trick in the heat of some tense scene.
Shinkai was clearly born in the wrong century. He'd be right at home with 19th Century romance.
I guess Horror gets off marginally better because they can pull the whole 'phone ran out of battery/out of range' trick in the heat of some tense scene.
5 Centimeters might be better on this score, but Voices and Place Promised didn't convince me that Shinkai actually is a skilled director. He unquestionably has a great eye for visual beauty, and makes every single shot of his atmospheric, like a painting. His visuals don't feel well connected with the stories he's trying to tell, however. They are overpowering to the extent where I lose sight of the characters and dialogue and events; I feel disconnected from them all and wish everyone would just shut up so I can stare at the clouds. If Shinkai wants to tell a story, he needs someone to reign his and direct his obsessions so that his beauty can serve the storytelling.
I guess Horror gets off marginally better because they can pull the whole 'phone ran out of battery/out of range' trick in the heat of some tense scene.
And with this, my show of the season comes to an end. There is fighting, and there is virtually no Shiraume. Win win for me. ^_^ Episode has a little of everything, I've no complaints. ^^
This is may have been my first outing with a Makoto Shinkai but I basically knew what I was getting myself into. Regardless of any arguments about this particular style of story it's pretty easy to see that Shinkai is a skilled director with a strong understanding of visual storytelling. He seems to be one of the few directors to actively use camera effects like: blur, pulling focus and depth of field appropriately.
He also has an interesting ability to construct a 'hyper real' world where even dull, boring locations are made to look beautiful and to make beautiful locations appear outstanding, a lot of this can be attributed to the lighting and use of colour. I'd post some pictures, but I believe you're all familiar with the style.
At present, I don't really care for the way the movie ends. It didn't have quite the strength or substance of the way the second 'episode' concluded, which meant the movie as a whole had an odd emotional structure for me.
I couldn't really get to grips with the protagonist, which might be where the problems arise.
I understand that he's spent his life pining for this girl, but whenever we see him he seems oddly detached from everyone around him, which may well be the point. But still, he seems to have been interested in people in the past and has had an off-screen relationship, but apart from that I can't even picture him sitting down with friends to watch a movie. He's just busy brooding somewhere.
In the end we see him smile, presumably suggesting that he's moved on from his obsession. I can't really say that I'm convinced about that, but as the movie is 60 minutes long there's not really any time for covering any more ground.
Also, the modern world has pretty much ruined these particular romantic moments and expressions. Everyone has mobile phones and email, so charming things such as letters and being completely separated from another person are now fairly uncommon.
I thought you had seen this before? Regardless, I think it's worth it to watch his previous two films. They are a bit stronger narratively, though not without problems. And they both have dem clouds of course.
I thought you had seen this before? Regardless, I think it's worth it to watch his previous two films. They are a bit stronger narratively, though not without problems. And they both have dem clouds of course.
Not everyone in anime and manga is celebrating Christmas on their own. Zero no Tsukaima author Noboru Yamaguchi had to stay in the hospital through Christmas Eve after his surgery to remove a tumor, and he had reported hair loss from the treatment earlier. Nevertheless, he added on Twitter that his girlfriend visited him and gave him a Christmas present (a cardigan sweater).
After many sites posted articles about Yamaguchi's Christmas Eve message, Yamaguchi asked why the sites focused their coverage on just the fact that he has a girlfriend at all.
I thought you had seen this before? Regardless, I think it's worth it to watch his previous two films. They are a bit stronger narratively, though not without problems. And they both have dem clouds of course.