All good in the world if next eps ended with
Archer marking his target
Shit bad if we getting the priest dumping infodump and praise to allah and we getting
basaka cliffhanger
Finger crossed.
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Fall Anime 2014 lOTl Unlimited Tomino Works
- Thread starter Narag
- Start date
- Status
All good in the world if next eps ended with
Shit bad if we getting the priest dumping infodump and praise to allah and we getting
Finger crossed.
It wasn't baseless. The show heavily implies this wasn't the first time Shinji had possibly beaten Sakura.
To be fair, domestic abuse cases aren't exactly easy to get into especially if both parties claim that it wasn't abuse.
Nah, Shirou should've pry more as outsider. Heroes of Justice my ass.
Preach it
SliceSabre
Banned
Kokkuri-san 02
Somehow a funnier episode than the first. Glad I decided to give this show a chance.
Somehow a funnier episode than the first. Glad I decided to give this show a chance.
Inugami should have stayed a girl.
It's probably going to become a rite of passage around these parts.
It's funny, entertaining, so completely over the top only to go OVER OVER THE TOP the next episode and so on and so forth.
R_thanatos
Member
Kokkuri-san - 01
Not bad for a first episode , not sure if it wants to be serious or not at times.
Not bad for a first episode , not sure if it wants to be serious or not at times.
Femmeworth
Banned
We should just collectively agree to never speak of Cross Ange again. Any exposure is a win for them.
Admiral Woofington
Member
We're all fighting about Shirou when we should all be agreeing about Sakura. Though according to (FSN Sakura spoilers)
so what does that say about Type Moon?
that quote Femmesworth posted, characters who are raped for drama are just for self-inserting fantasies
hipbabboom
Huh? What did I say? Did I screw up again? :(
Girl Friend Beta - 01
What an incredibly slow paced episode. I have no experience with this property so I hope I'm not deceiving myself into describing this as a "Slice-of-life school-based lesbian harem comedy."
If you're fine with the rape as a scene filler in between your fan service then Cross Ange may be a good watch.
What an incredibly slow paced episode. I have no experience with this property so I hope I'm not deceiving myself into describing this as a "Slice-of-life school-based lesbian harem comedy."
If you're fine with the rape as a scene filler in between your fan service then Cross Ange may be a good watch.
Turin Turambar
Member
Parasyte, Bahamut, Mushishi S2 second part when it returns. Fate S/N is very pretty visually but I'm unsure if it's good.
First season has to ramp up. Wait for the second half!
Soooo best show of the season?
darkblade77
Member
If you've seen Carnival Phantasm and specifically Sakura's parody segment, it says a lot on this topic.
Twin Tails?
Giovanni's Island
For the second year running, it feels like I'd have gotten a bit more out of an SLA screening if I'd actually read some Kenji Miyazawa. Whilst Guskou Budori was based directly upon one of his works, however, Giovanni's Island instead refers heavily to Night on the Galactic Railroad.
The movie starts in August 1945, on one of the Kuril islands. Well, actually, it starts in present day and pulls a Titanic, framing the movie as a retrospective, but that's neither here nor there, really. Having been defeated in World War 2, the islands inhabitants are dreading the arrival of the US military to rape and pillage their village, only to be shocked even more when it's actually the Russians who turn up. Junpei and Kanta (named roughly after Giovanni and Campanella, the lead characters in Night on the Galactic Railroad) find their lives gradually taken over by the Russian occupiers, as first their school is mostly taken over by their children, and then their house is taken over by the commander of the local Russian forces. Junpei's father, the former leader of the towns militia, seems to be up to something secretive too, and that's not to mention their uncle Hideos attempts to rope Junpei into being a look-out so that he can sneak off to the mainland on a fishing boat for supplies.
But, hey, at least the Russian girl next door is kinda cute, right?
The movie maybe doesn't set the greatest first impression - the opening shot is of rather overbaked looking CG water, followed quickly by a CG boat and CG seagulls. Thankfully, that all rather quickly gets put to one side, since as soon as we get out of the present day and into 1945, we see the movie shake up it's visual style. The character designs get pretty round and a smidgen exaggerated - the Russian girl Tanya looks maybe a little too perfect, whilst Hideo sometimes animates almost like an adult from Crayon Shin-chan. The background artist appears to not believe in the existence of rulers, either - there's nary a straight line to be seen, something they try to replicate even when utilizing CG to augment what is going on there. Character shading is typically flat-to-non-existent, unless the scene has some extreme lighting conditions.
(Although speaking of extreme lighting conditions, there's a few particularly great cuts of animation as they run a model train through a makeshift track at night - the shadows cast as it's lights run through a tunnel made out of a wicker basket produces a rather neat effect. The animation is generally solid throughout, though).
The movies narrative, well, it's more one of those films about capturing a certain time and place than necessarily focusing on any kind of complicated story. Things happen and have significant consequences, but there's an immediacy to things. You aren't going to be trying to juggle a half-dozen story threads or character motivations as you watch it. Like most of those post-WW2 films, it's certainly intended to tug on the old heartstrings (no spoilers, but it sure wears it parallels to Galactic Railroad on it's sleeves), but it's certainly a character piece, and whilst not the most effective movie of it's ilk in existence, it all works pretty well, even if some of the events come across as a little too transient.
It's kind of interesting how sympathetically the Russians come across, all things considered. Whilst it'd have been easy to portray them as exaggerated demons, particularly given the slightly loose animation style of everything taking place in 1945, outside of some of the initial landing party, most of the officers are shown as being at least empathetic. They're still occupying forces, sure, but they're handled about as compassionately as you could really expect them to be without being overly schmaltzy about things.
In general, though, it's a pretty solid movie. I think I might have gotten a little more out of it if I'd actually read Galactic Railroad - it's a constant presence in the movie, both as something characters reference, and on a more meta-textual level. I'm hoping to read the thing before I see the movie again next weekend, so we'll see, I guess.
(Also, I sure hope the use of Katyusha doesn't cause issues with the BD release!)
Bonus Director QA Notes
(Just in case anyone is interested in this stuff. Discussion between Jonathan Clements and director Mizuho Nishikubo. I shorthanded this, so probably only about 80% accurate...)
Q) To what extent is the story based upon reality?
A) Most of the story is based on discussions with an 80+ year old who is now living in Hokkaido, and stories he told us of both his own and his friends lives. It's about 80% true to life.
Q) Was there any worry about the politics in the film? Were there any worries in regards to potentially offending a Russian audience?
A) Hiroshi Tokuno (the fellow mentioned above) is actually part of the movement trying to reclaim the Kuril islands from Russia, but they explicitly told him that they weren't trying to make a movie with a political statement whilst talking to him, although they would never the less endeavour to make a good movie.
They have shown the movie at a film festival in the region relatively recently, and the feedback they received there wasn't especially political about it.
Q) Can you talk about the Miyazawa influence on the movie?
(I didn't catch the exact wording of the question - last years screenings of Guskou Budori came up and JC decided to single me out on it again...)
A) Night on the Galactic Railroad was actually never completed as a story, and there's several ways that it can be read as a result. He decided to try and focus on the part of the story which questions "what is happiness" when referencing it in the movie. There are also some obvious parallels to the story they were telling.
Q) JC ponders if people keep making movies adapting or referencing Miyazawa because he was a famous Buddhist, and if there's any truth in that it's a deliberate attempt to draw in the Buddhest market. Was it a consideration here?
A) Nope, not in the slightest!
Q) There are a lot of movies dealing with the experience of children in WW2, and now films dealing with them in the period immediately following it. There are a lot of TV movies which use Live Action footage which cuts into animation for the scenes set in the past. Given the use of famous Live Action actors instead of traditional voice actors in the framing scenes, was this originally considered for this movie?
A) He ends up mentioning this a lot in interviews, but the scriptwriter for the movie is actually a live action director - he'd originally wanted to make the movie himself in live action, but it would have been prohibitively expensive in terms of location shooting, sets and props. However, they also believed that making the movie as animation would be better for an international audience.
Aside from the characters in the framing sequences, a lot of the other voice actors in the movie are famous actors. He likes to think that this gives the movie a much more live-action feeling, but since it's animation, it's gotten far better foreign pick-up than they could have expected from a live-action movie, like it's fairly wide opening in France.
Q) The preview version of the movie that they provided Jonathan Clements for prep-work didn't have the subtitles for the Russian dialogue which were in the version screened today. He liked that, and felt it made the handling of the obvious communication problems and how it develops more interesting. What conversations were had regarding this?
A) JC probably shouldn't have been given that version of the film! Nishikubo didn't actually want to subtitle the Russian, but the feedback they got from people they showed the movie to suggested that people wanted to know what the Russians were saying, so they chose to translate that dialogue for the final version.
Q) The movie starts with almost photo-realistic CG water, but the visuals get almost more surreal as it goes along, ending up with almost Cubist-looking cloudscapes. What thought went into this?
A) There are three different styles of animation used in the movie. For the sections set in present day, they focused on making things look realistic. For the main section of the movie, reliving Junpei's memories, they chose to go for a more stylized look to represent him reminiscing. Then there are the imagination sections, as they imagine scenes from Galactic Railroad and the like, which required a more fantastical look again.
Much of the background art was by an Argentinian artist living in Paris, who is heavily inspired by Van Gogh and a particularly obscure Japanese print artist (who I missed the name of).
Q) You did an educational screening to an audience of 9-year olds in London a few days ago. How did that go?
A) He didn't watch the movie with the audience, but held a QA afterwards. One person asked if he cried when making the movie. He said he didn't, but does ever time he rewatches it - he keeps seeing things he wants to change!
When leaving, he saw another child who was moved to tears because they didn't get a chance to ask him their question, so he spoke to them after the QA session. He was asked who his favourite character was - it's Kanta.
(Audience questions start here, I think. Skipping a question I can't read my notes on)
Q) Any plans to make films in the future?
A) Of course - assuming he can get the funding!
Q) Regardless of budget, does he think a movie with this kind of content is easier to consume as a cartoon?
A) It depends on the story, but he feels that, even though it's set in Japan, because it's animation, it makes it easier to forget it's specific "japaneseness" as it goes on.
Q) Would he consider writing scripts for other people to direct?
A) He has written scripts for TV and OAVs before, but they always turn out pretty weird when he directs them himself. He'd maybe consider it if something weird is OK!
(Note - he wrote and directed California Crisis...)
Q) Audience member has recently read Barefoot Gen, and notices some parallels in the stories. Is there any specific relation or influence, or are they just similar?
A) He didn't have Barefoot Gen specifically in mind. There are a lot of titles set in this time period, such as Grave of the Fireflies. However, the specific story in this film is an unusual one which isn't often covered or known about, and as such he had to do a lot of his own in-depth research for it, which makes it fairly unique.
He also considers this different from a movie like Grave of the Fireflies in that, rather than being Introspective like that movie, he tried to make it more Outrospective.
For the second year running, it feels like I'd have gotten a bit more out of an SLA screening if I'd actually read some Kenji Miyazawa. Whilst Guskou Budori was based directly upon one of his works, however, Giovanni's Island instead refers heavily to Night on the Galactic Railroad.
The movie starts in August 1945, on one of the Kuril islands. Well, actually, it starts in present day and pulls a Titanic, framing the movie as a retrospective, but that's neither here nor there, really. Having been defeated in World War 2, the islands inhabitants are dreading the arrival of the US military to rape and pillage their village, only to be shocked even more when it's actually the Russians who turn up. Junpei and Kanta (named roughly after Giovanni and Campanella, the lead characters in Night on the Galactic Railroad) find their lives gradually taken over by the Russian occupiers, as first their school is mostly taken over by their children, and then their house is taken over by the commander of the local Russian forces. Junpei's father, the former leader of the towns militia, seems to be up to something secretive too, and that's not to mention their uncle Hideos attempts to rope Junpei into being a look-out so that he can sneak off to the mainland on a fishing boat for supplies.
But, hey, at least the Russian girl next door is kinda cute, right?
The movie maybe doesn't set the greatest first impression - the opening shot is of rather overbaked looking CG water, followed quickly by a CG boat and CG seagulls. Thankfully, that all rather quickly gets put to one side, since as soon as we get out of the present day and into 1945, we see the movie shake up it's visual style. The character designs get pretty round and a smidgen exaggerated - the Russian girl Tanya looks maybe a little too perfect, whilst Hideo sometimes animates almost like an adult from Crayon Shin-chan. The background artist appears to not believe in the existence of rulers, either - there's nary a straight line to be seen, something they try to replicate even when utilizing CG to augment what is going on there. Character shading is typically flat-to-non-existent, unless the scene has some extreme lighting conditions.
(Although speaking of extreme lighting conditions, there's a few particularly great cuts of animation as they run a model train through a makeshift track at night - the shadows cast as it's lights run through a tunnel made out of a wicker basket produces a rather neat effect. The animation is generally solid throughout, though).
The movies narrative, well, it's more one of those films about capturing a certain time and place than necessarily focusing on any kind of complicated story. Things happen and have significant consequences, but there's an immediacy to things. You aren't going to be trying to juggle a half-dozen story threads or character motivations as you watch it. Like most of those post-WW2 films, it's certainly intended to tug on the old heartstrings (no spoilers, but it sure wears it parallels to Galactic Railroad on it's sleeves), but it's certainly a character piece, and whilst not the most effective movie of it's ilk in existence, it all works pretty well, even if some of the events come across as a little too transient.
It's kind of interesting how sympathetically the Russians come across, all things considered. Whilst it'd have been easy to portray them as exaggerated demons, particularly given the slightly loose animation style of everything taking place in 1945, outside of some of the initial landing party, most of the officers are shown as being at least empathetic. They're still occupying forces, sure, but they're handled about as compassionately as you could really expect them to be without being overly schmaltzy about things.
In general, though, it's a pretty solid movie. I think I might have gotten a little more out of it if I'd actually read Galactic Railroad - it's a constant presence in the movie, both as something characters reference, and on a more meta-textual level. I'm hoping to read the thing before I see the movie again next weekend, so we'll see, I guess.
(Also, I sure hope the use of Katyusha doesn't cause issues with the BD release!)
Bonus Director QA Notes
(Just in case anyone is interested in this stuff. Discussion between Jonathan Clements and director Mizuho Nishikubo. I shorthanded this, so probably only about 80% accurate...)
Q) To what extent is the story based upon reality?
A) Most of the story is based on discussions with an 80+ year old who is now living in Hokkaido, and stories he told us of both his own and his friends lives. It's about 80% true to life.
Q) Was there any worry about the politics in the film? Were there any worries in regards to potentially offending a Russian audience?
A) Hiroshi Tokuno (the fellow mentioned above) is actually part of the movement trying to reclaim the Kuril islands from Russia, but they explicitly told him that they weren't trying to make a movie with a political statement whilst talking to him, although they would never the less endeavour to make a good movie.
They have shown the movie at a film festival in the region relatively recently, and the feedback they received there wasn't especially political about it.
Q) Can you talk about the Miyazawa influence on the movie?
(I didn't catch the exact wording of the question - last years screenings of Guskou Budori came up and JC decided to single me out on it again...)
A) Night on the Galactic Railroad was actually never completed as a story, and there's several ways that it can be read as a result. He decided to try and focus on the part of the story which questions "what is happiness" when referencing it in the movie. There are also some obvious parallels to the story they were telling.
Q) JC ponders if people keep making movies adapting or referencing Miyazawa because he was a famous Buddhist, and if there's any truth in that it's a deliberate attempt to draw in the Buddhest market. Was it a consideration here?
A) Nope, not in the slightest!
Q) There are a lot of movies dealing with the experience of children in WW2, and now films dealing with them in the period immediately following it. There are a lot of TV movies which use Live Action footage which cuts into animation for the scenes set in the past. Given the use of famous Live Action actors instead of traditional voice actors in the framing scenes, was this originally considered for this movie?
A) He ends up mentioning this a lot in interviews, but the scriptwriter for the movie is actually a live action director - he'd originally wanted to make the movie himself in live action, but it would have been prohibitively expensive in terms of location shooting, sets and props. However, they also believed that making the movie as animation would be better for an international audience.
Aside from the characters in the framing sequences, a lot of the other voice actors in the movie are famous actors. He likes to think that this gives the movie a much more live-action feeling, but since it's animation, it's gotten far better foreign pick-up than they could have expected from a live-action movie, like it's fairly wide opening in France.
Q) The preview version of the movie that they provided Jonathan Clements for prep-work didn't have the subtitles for the Russian dialogue which were in the version screened today. He liked that, and felt it made the handling of the obvious communication problems and how it develops more interesting. What conversations were had regarding this?
A) JC probably shouldn't have been given that version of the film! Nishikubo didn't actually want to subtitle the Russian, but the feedback they got from people they showed the movie to suggested that people wanted to know what the Russians were saying, so they chose to translate that dialogue for the final version.
Q) The movie starts with almost photo-realistic CG water, but the visuals get almost more surreal as it goes along, ending up with almost Cubist-looking cloudscapes. What thought went into this?
A) There are three different styles of animation used in the movie. For the sections set in present day, they focused on making things look realistic. For the main section of the movie, reliving Junpei's memories, they chose to go for a more stylized look to represent him reminiscing. Then there are the imagination sections, as they imagine scenes from Galactic Railroad and the like, which required a more fantastical look again.
Much of the background art was by an Argentinian artist living in Paris, who is heavily inspired by Van Gogh and a particularly obscure Japanese print artist (who I missed the name of).
Q) You did an educational screening to an audience of 9-year olds in London a few days ago. How did that go?
A) He didn't watch the movie with the audience, but held a QA afterwards. One person asked if he cried when making the movie. He said he didn't, but does ever time he rewatches it - he keeps seeing things he wants to change!
When leaving, he saw another child who was moved to tears because they didn't get a chance to ask him their question, so he spoke to them after the QA session. He was asked who his favourite character was - it's Kanta.
(Audience questions start here, I think. Skipping a question I can't read my notes on)
Q) Any plans to make films in the future?
A) Of course - assuming he can get the funding!
Q) Regardless of budget, does he think a movie with this kind of content is easier to consume as a cartoon?
A) It depends on the story, but he feels that, even though it's set in Japan, because it's animation, it makes it easier to forget it's specific "japaneseness" as it goes on.
Q) Would he consider writing scripts for other people to direct?
A) He has written scripts for TV and OAVs before, but they always turn out pretty weird when he directs them himself. He'd maybe consider it if something weird is OK!
(Note - he wrote and directed California Crisis...)
Q) Audience member has recently read Barefoot Gen, and notices some parallels in the stories. Is there any specific relation or influence, or are they just similar?
A) He didn't have Barefoot Gen specifically in mind. There are a lot of titles set in this time period, such as Grave of the Fireflies. However, the specific story in this film is an unusual one which isn't often covered or known about, and as such he had to do a lot of his own in-depth research for it, which makes it fairly unique.
He also considers this different from a movie like Grave of the Fireflies in that, rather than being Introspective like that movie, he tried to make it more Outrospective.
They know their audience?
forgot about that *edits*
Admiral Woofington
Member
I stopped watching Carnival Phantasm after the first episode, because most of the jokes weren't funny to me afterwards. I mean all I care about Type Moon is FSN series and KnK.
Im conflicted.
The original mobile game was based around having one of the several dozen girls in the cast be your virtual girlfriend. So it's as much of an anime-original story as Bahamut, only coming from an angle of cute.
SliceSabre
Banned
I support this selection.
Dedication Through Light
Member
TriCool Ep 3
Kumo had the best one, but so did they all. Loved the dance battle and how they kept saying the team name. Mitsuki's arms were incredible for the dance, but kumo's breakdance, and haneru popping like popcorn too. I cant wait for more.
Kumo had the best one, but so did they all. Loved the dance battle and how they kept saying the team name. Mitsuki's arms were incredible for the dance, but kumo's breakdance, and haneru popping like popcorn too. I cant wait for more.
NCR Redslayer
NeoGAF's Vegeta
Boy does anime suck.
SliceSabre
Banned
Girl Friend Beta - 01
Lesbian harem show based on f2p game? Ok...not sure about this. I actually wasn't even expecting it to be yuri until the female MC had such a flustered reaction to a several of the other girls in the show. Super slow though, I almost fell asleep. Actually this show is watch I expect from something based on a fsp game and not Bahamut.
Lesbian harem show based on f2p game? Ok...not sure about this. I actually wasn't even expecting it to be yuri until the female MC had such a flustered reaction to a several of the other girls in the show. Super slow though, I almost fell asleep. Actually this show is watch I expect from something based on a fsp game and not Bahamut.
Ookami Shoujo to Kuro Ouji 2
Reading the manga kinda ruined it for me. These comedic elements feel so out of place.
Decided to read some of the manga (chapter 15) and he's just a possessive dick for God knows why.
As far as humor goes, the manga is monthly so there is definitely enough material for a 1 chapter per episode deal. And so far the anime has done that, but, they change the structure of the anime so it can have comedic elements. That fetch scene for instance, isn't in the manga.
What makes this so bad is that
and that's just not okay.
Reading the manga kinda ruined it for me. These comedic elements feel so out of place.
Decided to read some of the manga (chapter 15) and he's just a possessive dick for God knows why.
He begins to lighten up after an incident though.
What makes this so bad is that
it really does look like a case of Stockholm Syndrome at some parts
You are now under obligation to review the entire series, episode per episode.
Kokkuri - 02
First thing's first - based Saito Chiwa.
Second, while I liked the episode I preferred the first episodes mix of the comedy and serious rather than this episodes split of of serious first half and comedic second half. That's really a minor complaint though.
The ED is a pretty lazy affair - a gradual pan out of a larger image. Ehhhh. The OP is really enjoyable though.
First thing's first - based Saito Chiwa.
Second, while I liked the episode I preferred the first episodes mix of the comedy and serious rather than this episodes split of of serious first half and comedic second half. That's really a minor complaint though.
The ED is a pretty lazy affair - a gradual pan out of a larger image. Ehhhh. The OP is really enjoyable though.
Hope he doesn't chump out like madp then. bad move, corvo.
The contract has been signed.
SliceSabre
Banned
A lot of people here just want it to be Fate/Zero and it was never going to be/was Fate/Zero.
hosannainexcelsis
Member
Posting Cross Ange screens should be bannable.
The 3 episode rule is nonsense. Every episode is important. If a show doesn't want to make me want to watch the next episode, it has failed.
The 3 episode rule is nonsense. Every episode is important. If a show doesn't want to make me want to watch the next episode, it has failed.
Admiral Woofington
Member
Fate Stay Night is good on its own account. But yeah, not F/Z.
I'll have a harder time convincing my friends to watch this. Well, one of them watched Code Geass with me so he won't have as hard of a transition from action into high school slice of life stuff.
The other one though, he loved Fate Zero for the action largely so if he is ever going to watch Fate Stay Night I'll need to be there with him, and have seen the show beforehand, to let him know ahead of times when shit he likes will come and how often.
How long is this series anyway? Because at some point the frequent rape is going to lose novelty and then I'll be both bored and offended.
Can't we just never talk about this series ever again instead?
phoenix296
Member
Supposedly 25 episodes. Good luck.
It's a shit series
MetroidPrimeRib
Banned
Most entertaining show of the season and I'm not even watching it
Ave Maria.
I fully expect the sneaky brother to attempt to rape Ange later on. And her little sister.
You can only stab someone with a knife so many times before diminishing marginal returns sets in and they run out of places that don't have knife wounds.
Silent Hill 2 not taught me this, fucking piss zombie.
If we're lucky it might happen at the same time.
- Status