Why can't guys have nice eyelashes?
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Spring Anime 2012 II | Welcome Home Eureka
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Guilty Crown is nowhere near as FABULOUS.
Oh it totally is. I love this shit. Whatever the hell it is.
Koroviev
Member
What is Yami?
Ice Lightning
Member
Guilty Crown was manageable to watch up to a point, but I doubt I could watch it again. I could not get behind the story compared with Code Geass' depth. I still have unanswered questions about even the most minor of details with the plot in Code Geass even after my fourth runthrough of watching the series.
Mad Pierrot and I are still asking ourselves that question.
RurouniZel
Asks questions so Ezalc doesn't have to
Kanon (2006) Episode 01:
It's been a while but I'm sure it's Yuuichi.
I'd forgotten to be honest, as I'd grown accustomed to calling him Kyonichi.
Hahahahahaha!
Evil. Downright evil. XD
It is Yuri. It is ethereal yet brutal. It is immortal yet fragile. It is sexy yet disturbing. It is rage inducing yet it calms the soul. It is the alpha and the omega. IT IS YAMI. MY NAME IS QUILE.
The stage play was interpretative. The flashback was reality.
To give you a serious answer, it's this, it's awful, and it's on The List Of Terrible Anime That People In This Thread Like To Have Seen.
Koroviev
Member
So, it's a synonym for Yuri as in girl-on-girl action, and not the Russian form of George?
chickdigger802
Banned
speaking of kyoani...
Anyone wanna whip out a quick shop of hyouka MC's eyes on a kyoani girl? In my mind it would look great...
but that's in my head.
Anyhow back to studying away assholes
Anyone wanna whip out a quick shop of hyouka MC's eyes on a kyoani girl? In my mind it would look great...
but that's in my head.
Anyhow back to studying away assholes
Koroviev
Member
Oh, I see.
Dedication Through Light
Member
Gundam 00 3-7
Setsuna has a great dub voice. Otherwise Exia with the GN Blades/Seven swords was a nice addition. Cant wait to see it used in further interventions.
Setsuna has a great dub voice. Otherwise Exia with the GN Blades/Seven swords was a nice addition. Cant wait to see it used in further interventions.
Koroviev
Member
I'll add it to the list. Still making my way through Mirai Nikki (up to episode 11 now) haha
Nah, it's gotta be a metaphor, on some level. Dios is the princely ideal, Anthy is feminism, and the angry villagers who impaled her are the male patriarchy, or something.
None of those are mutually exclusive with what I said.
Ice Lightning
Member
Code Geass R2 19-21
So much betrayal from both sides of the conflict. Rolo's death was expected and Marianne's death is explained in better detail. The future Emperor Charles and Marianne have in mind is just insane. What is a world without individual uniqueness, even if conflict is erased?
Is the one month timeframe between the failed Ragnarök and Lelouch claiming the throne ever mentioned?
Dedication Through Light
Member
Gundam Age 29
Pretty epic start to the new gen. Kio has the worst design of the three mains (1. Asemu 2. Flit then 3. Kio), but has some nice potential for action
. Age 3 doesnt look so good but Maxiis Rifle is epic. New OP is nice, and the ED too. Plotwise
Pretty epic start to the new gen. Kio has the worst design of the three mains (1. Asemu 2. Flit then 3. Kio), but has some nice potential for action
unfair that he is an X-rounder but Asemu wasnt :/
cant believe Big Ring was destroyed so swiftly after we defended it so intensely last season. Zehearto returned so I can only pray that Asemu isnt dead or something but out there with some new comparable in strength custom powerful mobile suit? Diva looked cool but could undergo some changes and am surprised Millias is still captain commander? What was that shillouette of a gundam in the OP with the odd take on a pirate flag? looked cool
Go_Ly_Dow
Member
Damn son, you trying to kill me?
Same here, except instead of 5, make it all 17 combined with me. Why do I do this to myself. ;_;
Ice Lightning
Member
Code Geass R2 22
This question is in regards to Lelouch's geass.
The Zero Requiem starts its slow pace to change the world. Now that Nunnally is shown to have survived the first F.L.E.I.J.A. Lelouch may begin to question his own motives once again.
This question is in regards to Lelouch's geass.
With Lelouch's geass power extended to both eyes, is he able to issue one than one command to people? I ask this because after commanding the Britannians present at his declaration of becoming Emperor to acknowledge him as Emperor, he later commands them to be his slaves. Is this a second command, or just them acknowledging the Emperor's order?
InfiniteNine
Rolling Girl
Kanon (2006) Episode 02:
Awww yeahhh! Return of Makoto! Tsun
goodness for all!
Awww yeahhh! Return of Makoto! Tsun
fox
Really? Maybe I will give it one more chance, but it's on the back-burner for now.
Does the MC still do the face thing at any opportunity he can?
And I thought we were friends.
I'm sorry if I lead you on.
Dragoon En Regalia
Member
Ashita no Joe, ep1
Being the first half of the dual-production anime adaptation of Ikki Kajiwari's signature manga, Ashita no Joe (1970) is, in every way imaginable, a product of its time, albeit one that still impresses me in this strange age of on-model animation, digital production, and cute stuff above all else. Along with material like Attack No. 1, this first half of the whole saga essentially formed the sports-drama anime as we know it today, establishing basic conventions and providing for character-centric stories that, then at least, were more than lacking in the early TV anime market. It also introduced Osamu Dezaki into his first directing role, giving him plenty of opportunity to start experimenting with the many, many new editing techniques and stark scenes that would propel his career and immortalize his presence in the anime industry forever. For a whole bunch of reasons, this show is quite significant.
And it's really good too. I guess that counts for something.
This opening episode is all about Danpei, who's eager to court Joe's favor almost from the start of the show. While it might seem a bit curious to not develop Joe's character right from the start, it's fairly obvious that Osamu wanted to establish context first and foremost, and to establish two things. One: Danpei is desperate to have a lasting impact in his life, having lost himself in the middle of the Kanto slums, depressed and drunk; two: Joe just won't give a damn about Danpei's dreams, instead thinking it would be better to wander around aimlessly. The story-long dynamic between Danpei and Joe is perhaps the most surprisingly-interesting of all the relationships this show has to offer, as I found out just an episode later. Wandering around aimlessly, after all, is the perfect way to characterize Joe in this early part of the show, a young man gifted with extraordinary fighting prowess and a grabbing desire to run away from the society that bore him. Danpei, nevertheless, is so determined to convince Joe that boxing is a way out that he quits drinking entirely! I've already fallen for the contrast and symbolic conflict between these two characters, and it's gotten better over the first 10 episodes or so. Here, of course, it's great even without the substantial development.
The only notable flaw of the episode is the gratuity I like to call the slum children. Not that they aren't funny, or that they don't provide the comic relief necessary, but because they also try to fill in a role that Danpei fills in perfectly: social conscience, something that Joe has little of (and something he's proud to not have). If anything, Joe and Danpei's relationship is full of humor and all sorts of conflicting emotions alreadyso, in this episode at least, the children feel somewhat unnecessary when the plot's really about Danpei and Joe. Though the children become a real plot element starting in the next episode, they often take the spotlight a bit too much. Case in point: when Sachi, the little girl caught stealing from the Onihime yakuza, has a big fuss and get her own silly scene with Joe (something that continues to happen, I must add). What I do like about the children, and all of the other side characters that make appearances throughout the series, is how varied and interesting their character designs are: from regularly-proportioned and envisaged, to distorted and humorous faces and body shapes. These designs provide the kind of experimentation and rough feel to the series that I was hoping to find, a heady contrast from the more-conventional looks of Yabuki Joe and Tange Danpei.
Now: all of these fun, multi-faceted story details, courtesy of the topical-minded Ikki Kajiwari, really do deserve some great storytelling mechanics, now don't they? Much of the reason I love this show is Osamu Dezaki transforms otherwise-stiff scenes of character development and dialogue into surreal, stylized accounts of emotions in and out, using more than a few crazy color contrasts, chiaroscuro, and a bunch of other things that, sadly-enough, don't feature any Postcard Memories. When moving through avenues of cheap inns in a moody night scene, we see Joe, and Joe sees signage floating through the cosmos like spirits of the night. When resting for a nap on the riverbank, Joe and Danpei (who's taking time out to tell him the wonders of a boxing career) sit in the darkness, with only a faint glimmer of color and light shimmering in the backgroundan intimate scene with intimate features. Because of these different ways to present the tale and keep visual interest intertwined with characterization, I must say that Osamu Dezaki's style of directing is something I wish I saw more of, namely how he uses each unique element in just the right way, almost all the time. Many anime directors may use his techniques either once in a while or simply too frequently, but Osamu uses them with balance and attention to structure and the pacing of a whole episode.
Balance, however, is never really implied in the show's overall animation quality whatsoever, considering that there's a definite gulf between the shaky, low-frame feel of most scenes that aren't fight scenes, and the powerful, eye-crushing fight scenes that just don't last as long as they feel like they should. Akio Sugino did the major key animation and animation direction for this first episode, and his work on other shows of the time really showed here in the fight scenes and, I suspect, the opening bridge scene depicting Joe's crossing of the channel, from civilized urban life to the dirty brawl of the slums. Even so, the rough quality of the animation itself is either going to turn other viewers off or, in my case, pull me in by artistic extension of the story's context and themes. Other qualities really helped to immerse me into the world crafted by Ashita no Joe, including a great soundtrack mixing great vocals, folk themes, and bluesy elements all into one great melange that amplifies many of the episode's scenes overall. All of the great animation, music, and foley happens to apply across the breadth of the whole series, and it would stay at a high level of quality in the second series as well. By the ending, the first episode has gone over a bunch of important character development, contextual details, and how Joe deals with all of his problems: fisticuffs, and some other ways of beating as shown in his fight with the vengeful yakuza at the very end. Yet everything felt well-paced and appropriate for a pilot showing of the show.
In short: Joe has a lot ahead of him, and he's got no idea. Nor does he need to know, or to worry, because everything comes easily to him.
Being the first half of the dual-production anime adaptation of Ikki Kajiwari's signature manga, Ashita no Joe (1970) is, in every way imaginable, a product of its time, albeit one that still impresses me in this strange age of on-model animation, digital production, and cute stuff above all else. Along with material like Attack No. 1, this first half of the whole saga essentially formed the sports-drama anime as we know it today, establishing basic conventions and providing for character-centric stories that, then at least, were more than lacking in the early TV anime market. It also introduced Osamu Dezaki into his first directing role, giving him plenty of opportunity to start experimenting with the many, many new editing techniques and stark scenes that would propel his career and immortalize his presence in the anime industry forever. For a whole bunch of reasons, this show is quite significant.
And it's really good too. I guess that counts for something.
This opening episode is all about Danpei, who's eager to court Joe's favor almost from the start of the show. While it might seem a bit curious to not develop Joe's character right from the start, it's fairly obvious that Osamu wanted to establish context first and foremost, and to establish two things. One: Danpei is desperate to have a lasting impact in his life, having lost himself in the middle of the Kanto slums, depressed and drunk; two: Joe just won't give a damn about Danpei's dreams, instead thinking it would be better to wander around aimlessly. The story-long dynamic between Danpei and Joe is perhaps the most surprisingly-interesting of all the relationships this show has to offer, as I found out just an episode later. Wandering around aimlessly, after all, is the perfect way to characterize Joe in this early part of the show, a young man gifted with extraordinary fighting prowess and a grabbing desire to run away from the society that bore him. Danpei, nevertheless, is so determined to convince Joe that boxing is a way out that he quits drinking entirely! I've already fallen for the contrast and symbolic conflict between these two characters, and it's gotten better over the first 10 episodes or so. Here, of course, it's great even without the substantial development.
The only notable flaw of the episode is the gratuity I like to call the slum children. Not that they aren't funny, or that they don't provide the comic relief necessary, but because they also try to fill in a role that Danpei fills in perfectly: social conscience, something that Joe has little of (and something he's proud to not have). If anything, Joe and Danpei's relationship is full of humor and all sorts of conflicting emotions alreadyso, in this episode at least, the children feel somewhat unnecessary when the plot's really about Danpei and Joe. Though the children become a real plot element starting in the next episode, they often take the spotlight a bit too much. Case in point: when Sachi, the little girl caught stealing from the Onihime yakuza, has a big fuss and get her own silly scene with Joe (something that continues to happen, I must add). What I do like about the children, and all of the other side characters that make appearances throughout the series, is how varied and interesting their character designs are: from regularly-proportioned and envisaged, to distorted and humorous faces and body shapes. These designs provide the kind of experimentation and rough feel to the series that I was hoping to find, a heady contrast from the more-conventional looks of Yabuki Joe and Tange Danpei.
Now: all of these fun, multi-faceted story details, courtesy of the topical-minded Ikki Kajiwari, really do deserve some great storytelling mechanics, now don't they? Much of the reason I love this show is Osamu Dezaki transforms otherwise-stiff scenes of character development and dialogue into surreal, stylized accounts of emotions in and out, using more than a few crazy color contrasts, chiaroscuro, and a bunch of other things that, sadly-enough, don't feature any Postcard Memories. When moving through avenues of cheap inns in a moody night scene, we see Joe, and Joe sees signage floating through the cosmos like spirits of the night. When resting for a nap on the riverbank, Joe and Danpei (who's taking time out to tell him the wonders of a boxing career) sit in the darkness, with only a faint glimmer of color and light shimmering in the backgroundan intimate scene with intimate features. Because of these different ways to present the tale and keep visual interest intertwined with characterization, I must say that Osamu Dezaki's style of directing is something I wish I saw more of, namely how he uses each unique element in just the right way, almost all the time. Many anime directors may use his techniques either once in a while or simply too frequently, but Osamu uses them with balance and attention to structure and the pacing of a whole episode.
Balance, however, is never really implied in the show's overall animation quality whatsoever, considering that there's a definite gulf between the shaky, low-frame feel of most scenes that aren't fight scenes, and the powerful, eye-crushing fight scenes that just don't last as long as they feel like they should. Akio Sugino did the major key animation and animation direction for this first episode, and his work on other shows of the time really showed here in the fight scenes and, I suspect, the opening bridge scene depicting Joe's crossing of the channel, from civilized urban life to the dirty brawl of the slums. Even so, the rough quality of the animation itself is either going to turn other viewers off or, in my case, pull me in by artistic extension of the story's context and themes. Other qualities really helped to immerse me into the world crafted by Ashita no Joe, including a great soundtrack mixing great vocals, folk themes, and bluesy elements all into one great melange that amplifies many of the episode's scenes overall. All of the great animation, music, and foley happens to apply across the breadth of the whole series, and it would stay at a high level of quality in the second series as well. By the ending, the first episode has gone over a bunch of important character development, contextual details, and how Joe deals with all of his problems: fisticuffs, and some other ways of beating as shown in his fight with the vengeful yakuza at the very end. Yet everything felt well-paced and appropriate for a pilot showing of the show.
In short: Joe has a lot ahead of him, and he's got no idea. Nor does he need to know, or to worry, because everything comes easily to him.
Yami, fabulous endings, and the ephemeral space troll 12
is such a troll.
Fox girl
"Love is what makes the pain stop". I guess Yami is not love.
Gargantua
Well shit, something that makes sense again.
So I guess that ends Gargantua's story. No more Fabulous
Meanwhile IN SPACE...
Yami logic - "I'll kill you and then I'll die too!". This is how you find true happiness with the one you love.
OOOOh symbolism!
Following this is a truly heartfelt and sad scene. If only this show made more sense this could be nearing the end of a great drama or something.
WHAAAAAT THE FUUUUUCK?
Meanwhile, back in space Japan foxgirl is talking about how happy everybody is. little tortured bird flies in chased by a little dragon. The dragon sets the ogres on fire and they jump out of the building.
parachutes after them.
Fox girl gets some from that androgynous elf character. Maybe.
Hatsumi/Jill/Eve
Fox girl
takes Liliths HAT and throws it to Hatsumi/Jill/Eve who promptly disappears into another world.
"Love is what makes the pain stop". I guess Yami is not love.
Gargantua
gets transported back to the world with sunflowers when he was young. He remembers Jill resurrecting the bird that he mercilessly killed. He sees ritsuko, and then is transported forward in time to when she was jailed, realizing that she is the one he cares for the most and not Jill.
So I guess that ends Gargantua's story. No more Fabulous
Meanwhile IN SPACE...
Hazuki sees Hatsumi and begins to run with her. However, Hatsumi stops and says she's EVE and she cant go back to being with HAzuki. Hazuki tries to approach her, repeatedly getting knocked back by some sort of force field.
Yami logic - "I'll kill you and then I'll die too!". This is how you find true happiness with the one you love.
Eve agrees to this. Hazuki begins strangling her. But naturally she can't go through with it. There is a reference to falling stars.
Following this is a truly heartfelt and sad scene. If only this show made more sense this could be nearing the end of a great drama or something.
Eve leaves, and Hazuki cries out for her. Eve says not to worry, she will come back to her AS HER CHILD.
Eve makes everybody cry, even Lilith.
parachutes after them.
Fox girl gets some from that androgynous elf character. Maybe.
Master Milk
Member
UN-GO 00
This show is always fun. I want more, though that's probably unlikely to happen.
This show is always fun. I want more, though that's probably unlikely to happen.
Jex
Member
I fear that may have been me.
InfiniteNine
Rolling Girl
Kanon (2006) Episode 03:
Boy do I love it when the Key protags pick on the girls.
Boy do I love it when the Key protags pick on the girls.
Jex
Member
It's a combination designed to appeal to the widest variety of Gaffers.
Why does he have a mutated foot attached to his arm?
Jex
Member
I am fairly certain that Kyon's internal monologue is far less annoying because it's quite well written, not just because it is internal.
I think the strong visual direction is why the show is able to get away with such quick pacing. It's when you make poor use of visual language, or require lots of verbal exposition, that tight pacing really kills you. A picture is worth a thousand words, as they say.
The amount of material they jumped through in episode 3 is quite jarring though. Its like, one moment they barely know new girl and then suddenly, curtains.
Dedication Through Light
Member
Hiiro no Kakera 5
Grandma continues to be pretty useless, dont understand why she cant just teach Tamaki to realize her potential. It did lead to a nice funny scene with Tamaki that I laughed at, concentrating to focus. Otherwise no action but cool episode with more funny interactions with everyone and ultimately that nice scene with Mahiro and Takuma.
Grandma continues to be pretty useless, dont understand why she cant just teach Tamaki to realize her potential. It did lead to a nice funny scene with Tamaki that I laughed at, concentrating to focus. Otherwise no action but cool episode with more funny interactions with everyone and ultimately that nice scene with Mahiro and Takuma.
That new character looked cool, a sixth guardian?
Yeah that whole section felt very abrupt. First time I've had an issue with the pacing so far.
Jex
Member
Sounds like an excuse to me...
Fightin' words
'50s street gangs are best street gangs.
Jex
Member
Um, I am pretty sure they are
snake-skin. After all, he's the one who did the tempting.
They just needed to get over that lovey-duvey shit fast so the can have time for the brolust.
At least the first episode of Hyouka wasn't 50 minutes long.
You're right. I think the point still stands, though.
She was just painting him. They mention at the beginning that one of her interests were oil paintings. I guess I didn't see that as such a big leap.
Garzey's Wing.
Crash Station
Member
Space Bros 5
Pugs are cute.
Pugs are cute.
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