Honey and Clover Paradise Kiss Hataraki Man Ayakashi (Finale) + Mononoke Trapeze Moyashimon The Tatami Galaxy Wandering Son Bunny Drop
(From what I've watched)
There aren't really many titles I'd suggest that people don't watch from that programming block. They're nearly all good, and different from the kinds of works that normally get produced.
Until now of course. Ano Hana leading the way to the glorious otaku marketplace.
I think trainwrecks, from the start, can be wrecks so long as the state of their wreck isn't at such a level of wrecking that a good wrecking can't happen to their wrecks, making it an even bigger trainwreck once the wrecking is over.
Code Geass didn't start off the way you say it should have, and it's definitely become the canonical trainwreck by which all other trainwrecks are judged.
I (obviously) disagree in relation to this particular show. Code Geass certainly starts out fairly over-the-top and melodramatic, but not to the extent that I'd consider it 'bad'. That only happens when the plot gets well and truly Sunrise'd.
In other words, I think you have a train going along the tracks on a fairly clear manner before it can come off them. I feel like Guilty Crown was never on track to begin with.
I think trainwrecks, from the start, can be wrecks so long as the state of their wreck isn't at such a level of wrecking that a good wrecking can't happen to their wrecks, making it an even bigger trainwreck once the wrecking is over.
Now this is an interesting theory. Maybe Guilty Crown started out with too big a trainwreck and couldn't get any bigger, whereas Code Geass was purposely scripted in such a way that the first wrecks were smaller and then the sequential wrecks built into a glorious crescendo of huge wrecks at the ends of the first and second seasons?
Now this is an interesting theory. Maybe Guilty Crown started out with too big a trainwreck and couldn't get any bigger, whereas Code Geass was purposely scripted in such a way that the first wrecks were smaller and then the sequential wrecks built into a glorious crescendo of huge wrecks at the ends of the first and second seasons?
I dunno, even GC wasn't that bad early on. The first episode was pretty boring but it wasn't offensive at least (although I may have been seduced early on by the promise of there being more wheelchair girl). I think the problem is that when a trainwreck just kinda disintegrates early on, it loses momentum and just becomes forgettable. Trainwrecks have to keep moving! CG at its best never stopped to take a breather, stupid shit happened at an alarming rate.
Also the train needs to be festooned with dead peacocks so it's fabulous imo.
Damn, the Sora no Woto composer (Michiru Oshima) also did the music for ICO? No wonder it sounded sort of familiar.
I love finding connections like this all over the industry, like when I discovered that six of the iM@S seiyuu were involved with recent Zelda games.
Ah, this is true, it would seem that Koichi Yamazaki is responsible for about half. Still, Oshima did compose the song "Castle in the Mist", which is what I was most strongly reminded of anyway.
As I dropped Guilty Crown around episode three perhaps people could explain why they're still watching the show. Is it:
A) Genuine enjoyment
B) You like the characters
C) You think the world is cool
D) You like seeing dumb things happen
E) You want to see how much worse it can possibly get
F) You enjoy hurting yourself
G) You like seeing crazy stuff happen
In other words, I think you have a train going along the tracks on a fairly clear manner before it can come off them. I feel like Guilty Crown was never on track to begin with.
Now this is an interesting theory. Maybe Guilty Crown started out with too big a trainwreck and couldn't get any bigger, whereas Code Geass was purposely scripted in such a way that the first wrecks were smaller and then the sequential wrecks built into a glorious crescendo of huge wrecks at the ends of the first and second seasons?
The problem with the idea of thinking Guilty Crown trainwrecked is thinking it had wrecked at some point when the train never existed in the first place. It was a rabbit hole to begin with.
Well, I guess Reika is cooler now. Her Aquarion is awesome. Love the dark aura. Silvia is still a bitch though.
Is this going to be monster of the week much longer, because I'm getting a little tired of it? Love the action and characters, but there's been very little actual progression.
Honey and Clover Paradise Kiss Hataraki Man Ayakashi (Finale) + Mononoke Trapeze Moyashimon The Tatami Galaxy Wandering Son Bunny Drop
(From what I've watched)
There aren't really many titles I'd suggest that people don't watch from that programming block. They're nearly all good, and different from the kinds of works that normally get produced.
Until now of course. Ano Hana leading the way to the glorious otaku marketplace.
The transition from the rather bright and playfull atmosphere at the beginning to the increasingly twisted, creepy and oppresive sense of dread was masterfully handled. The final battle with the eldrict abominationesque Baron was absolutely off the fucking walls (the part with the obscene amount of arrows reminded me of the ending to a certain fabulous~ anime series).
Saying that I really didn't like the CG as it really didn't mesh well with the traditional animation at all.
Of all the One Piece movies I've seen (the first 3) this was by far and away the best. Now I've got nothing left of Hosoda's to watch until he turns us all into furries. ._.
Manga goes further. There's even another thing that occurs after that has them both returning to Japan to do opera too.
I really liked both the live series, anime adaptation, and manga of the series because it's practically my professional life, but shown so normal people can understand it.
Manga goes further. There's even another thing that occurs after that has them both
returning to Japan to do opera too.
I really liked both the live series, anime adaptation, and manga of the series because it's practically my professional life, but shown so normal people can understand it.
Basically the classically-trained professional musician's life in a series. Practically all of it is highly realistic from teachers, to conservatories, to national views on music from other countries, to performances, contests, and overall life of a musician. The studies in foreign countries are accurate, practice habits are the same, all of it. All of it is very true to real life, even some of the things people may think are exaggerated.
Persona 4: The Cartoon is an awful anime. As a Persona 4 fanservice piece, however, it hits in every fucking spot. I bet all those DVD/Blu-Ray sales are not from the traditional otaku market, but from fans of the game.
As I dropped Guilty Crown around episode three perhaps people could explain why they're still watching the show. Is it:
A) Genuine enjoyment
B) You like the characters
C) You think the world is cool
D) You like seeing dumb things happen
E) You want to see how much worse it can possibly get
F) You enjoy hurting yourself
G) You like seeing crazy stuff happen
Unless you mean the opera part of it (it's late so I just jumble my thoughts together without think too well right now), which
they officially become a couple
, and overall it's more of the same, but in an operatic atmosphere. So you have belladonnas, actors, actresses, the pit orchestra, crew, etc, and there's a lot more elements to all those involved then just a section of people, not to mention the group dynamics of the production itself.
As I dropped Guilty Crown around episode three perhaps people could explain why they're still watching the show. Is it:
A) Genuine enjoyment
B) You like the characters
C) You think the world is cool
D) You like seeing dumb things happen
E) You want to see how much worse it can possibly get
F) You enjoy hurting yourself
G) You like seeing crazy stuff happen
D and E. I'd add F but I think I'm starting to build up a psychological immunity to that kind of shit. Soon I'll have to resort to marathoning Key animes to satisfy my masochistic cravings. ;_;
Disappointing choice of OP song aside, this was a very enjoyable watch. I like how deliberate the pacing felt. That, along with the very fitting music used in some points (like in the elevator scene) helped set a nice mood throughout and even though not much was really explained or developed past establishing some groundwork, it held enough of my interest that I want to check out at least a few more episodes to see how stuff unfolds.
Disappointing choice of OP song aside, this was a very enjoyable watch. I like how deliberate the pacing felt. That, along with the very fitting music used in some points (like in the elevator scene) helped set a nice mood throughout and even though not much was really explained or developed past establishing some groundwork, it held enough of my interest that I want to check out at least a few more episodes to see how stuff unfolds.
It's kind of gone beyond a joke by this point. I'm surprised that anyone would ever pay to have them make the music for their opening or ending. Can you get more creatively bankrupt?
It's kind of gone beyond a joke by this point. I'm surprised that anyone would ever pay to have them make the music for their opening or ending. Can you get more creatively bankrupt?
I was wrong; definitely looking at the procession of events in all the wrong ways. Taichi’s going to ‘win’ this thing, if anyone. And I’ve come to this for two reasons in particular: (One) His initial characterization during the flashback and subsequent bit in the present, while it was negative, it wasn’t to paint him as lesser than Arata, no, it was to give his give his plight perspective, and make his eventual turnaround, and subsequent victory over the 'the god' seem all that more impressive; to actually give him a bit of character, since, of course; (Two) Arata’s been no character at all--He’s the karuta god, in all his feel-good. A plot device that Chihaya idolizes and would 'give chocolates to'--to build upon her and Taichi's convo on the train--much like Harada-sensei is karuta, and the Queen was all karuta...until this scene here:
A scene that felt not just random, but incredibly unnecessary... until I let the actual context sink in:
Why show this during the match? I'm guessing that it's actual purpose in the moment wasn't to give a little blast of character to the Queen, though it did--I'll get into that in a sec--but that it was a scene immediately meant to build itself from, and exemplify two specific facets of Chihaya's established character--her idol worshiping, and succumbing to pressure, to be exact. Both of which she was doing there.
Because it's with her sister, Arata, Harada-sensei, that the show has shown: While Chihaya can deal with them just fine in any normal, non-competitive setting, she's also placed them on this shelf she deems untouchable; placed them on this shelf of people she aspires to, and glorifies, but doesn't exactly believe she can ever beat, from what I'm gathering--with the doom and gloom over the parents photo albums, and her getting cold feet after a loss to Harada before the finals etc...etc...Overarching theme.
And the Queen, with
all her accolades, total match domination, and title's prestige,
was quickly on her way to that shelf until Chihaya tried to catch herself there,
but didn't, as she then went on to hit a bout of depression and subsequently see the Queen as Arata before finally turning the match around a bit...
But I do believe that the scene up there--or more importantly, the connection created for the audience/Chihaya during that scene--was of even more importance. Since having Chihaya say something as open ended as 'Oh, she's just like me audience; just like the protaganist!' is the writer effectively saying to the audience "She's viable, and she's going to be big in the story, people. BIG. Let your imagination run wild with her character for now, as I'll be filling her in a bit later. PEACE." Much unlike what's been done so far for Arata, Chihaya's sister, or Harada.
But with all that said, I'm thinking that she'll be written as Chihaya's bridge to the unreachable; the familiar antagonist--what Arata is to Taichi, but couldn't be to Chihaya. Someone of the same sex, on her untouchable shelf--but touchable, if that makes sense. Someone beating her in just about everything: Karuta, love etc...etc... until Chihaya eventually dominates like all feel-good protagonists do. I just wonder how their going to vilify the Queen romantically. Which one is she taking, if not both?
So, I've seen a couple of this seasons' series and here are the impressions, not that anyone cares.
Brave 10 - generic character designs, crappy animation (people are praising the look of this show and shitting on Another? really?), but mildly entertaining. Maybe I'll continue watching, but this seems like a show that I could play in the background while doing something else and not miss a thing.
Knight in the area - I like this. Nothing really original, but it's fun, I guess, and I'm intrigued to see how it goes on. The source material is supposed to be good, right? In the worst case, this could be your typical sports anime, which isn't that bad.
Another - I like the look and the mood of the show. Not much was shown in the first episode, but I'm intrigued enough to give it a couple more episodes. And yeah, the OP is crappy.
Symphogear - Total crap, but I'll probably watch it for the fights if the animation continues to be good, which probably won't happen considering that the first episode looked much worse in it's second half (the second fight especially).
Rinne no Lagrange - This wass kinda fun. Looks great, and could potentially be good. LIkeable lead, too. Will watch.
As I dropped Guilty Crown around episode three perhaps people could explain why they're still watching the show. Is it:
A) Genuine enjoyment
B) You like the characters
C) You think the world is cool
D) You like seeing dumb things happen
E) You want to see how much worse it can possibly get
F) You enjoy hurting yourself
G) You like seeing crazy stuff happen
Hibiki is pretty hilarious as are the other characters...Ryoko Sakurai if I got her name right. Kanade > Tsubasa, however Tsubasa has that epic sword and that thousand blades attack which was mindblowing. All the music is so cool
But with all that said, I'm thinking that she'll be written as Chihaya's bridge to the unreachable; the familiar antagonist--what Arata is to Taichi, but couldn't be to Chihaya. Someone of the same sex, on her untouchable shelf--but touchable, if that makes sense. Someone beating her in just about everything: Karuta, love etc...etc... until Chihaya eventually dominates like all feel-good protagonists do. I just wonder how their going to vilify the Queen romantically. Which one is she taking, if not both?
If we're going to expect sports clichés to play themselves out as they normally would then it's pretty easy to see the Queen as being your typical rival character - the kind of person who competes with the protagonist in all areas of life. However, if the show were to indulge all the traditional anime clichés then Chihaya, Arata, Taichi and the Queen would all have to attend the same high-school (for no particular reason) just to keep the level of 'drama' high.
Of course, they haven't gone down that route and one of the reasons that Arata has had so little screen-time is that there's no 'good' (read: logical) reason for him to be appearing in the show all the time. Rather than make excuses for having him pop-up and somehow interact with the characters he's kept off-screen most of the time. This makes it a little bit harder to predict where the show will go next as it seems more interested in introducing new characters at appropriate times than simply focusing on the core cast which the series started with.
An option only two will select. *awaits for theory to be disproven*
Symphogear - 02
Didn't like the whole sing-to-make-suits-activate schtick, well to be more accurate it was and will be annoying if they went into battle singing everytime as is the special attack stills everytime.
Alright, after more than a week of Katawa Shoujo basically killing any desire I had to watch my FamuFamFams, I'm back!
Last Exile: Fam, the Silver Wing 11 (because apparently the 10 listed was really 9.5)
A flashback episode? Really? About the Grand Race? Damnit Gonzo, why do you have to play with my heart. ;___;
Okay for all seriousness,
Giselle's father and BFF being the winners of the last Grand Race
sure were pretty big plot points that I'm disappointed Gonzo didn't mention earlier. I mean, it explains quite a bit, like
why Fam would be good at racing and why the former Queen is dead
, but I kind of have trouble seeing how such an event can be anything but
traumatic for poor Fam and Giselle. Hell, where in God's name was the Federation military? If they knew that this event was going to be a security risk, why weren't they there with their own evacuation vanship? I mean seriously, they could have done something over the same timeframe, but they have to frame events in a sharper order. Yes, it would have cost more to animate, but what it ends up being was just a big sloppy mess of a scene. It was awful. And then Fam wakes up in a Sky Russian transport with no explanation as to how they got there
Sloppy work Gonzo, I am disappoint. I know you can do better than that, especially with how sloppy that flashback exposition was. Let's not fuck up this week, shall we? Thank goodness it's only just tomorrow. I don't know what I'd do having to wait a whole week after this episode...
Is it because the live action is 100x better?
