Yes. But then are the producers to blame, or are the animators? Or perhaps both? It's hard to balance out the blame framework sometimes, especially when we've yet to find out about what precisely went wrong.
The producers probably created the poor environment which the show is produced in. This is probably the root cause of various problems which expand across the overall production. But beyond that I think it is hard to blame individual animators for what seems like a systemic problem with the show in general. If there is something which is badly drawn, animators can be at fault. But if something is simply boring, then it is more likely that the problem stems from direction and storyboarding. Animators ultimately follow directions and requests to deliver a given scene. If they are asked to draw something which is boring, that's what they will have to do.
For example, I think we can look at the opening sequence for Fujiko to see where the problem originates. I've heard many people complain that the opening is cheap, and looks like a low budget production which doesn't make good use of the designs. There isn't much "animation" at all, and it just looks tacky.
But is this because there weren't good animators on the opening? Not at all! In fact, there are many prolific animators credited on the opening sequence who are known to be able to do very lively and stylish animation. So why is there nothing of that sort in the opening? Probably because the sequence is exactly as the director wanted, and it was how she storyboarded it as well.
If you get a bunch of good animators together and ask them to animate crap, you will still get crap. Animators are not going to argue with the director because that would be unprofessional. They might offer suggestions of how to better use their own skills, but such advice can be ignored as ultimately the director makes the final decisions.
I'm surprised to see some variation in the eye-shapes, interestingly. But the way they plastered a face onto the third girl's head just looks bad. And they're all fucking creepy when they have the same expression, too.
In short: I think Tony Taka was an eroge artist until SEGA decided to hire on the cheap. Fuck that. Keep Tamaki! And keep that last GIF!
That's what my wife always says whenever I look at Tony Taka pics. :/ She's all like "his art is pretty and stuff but they all look exactly the fucking same, I hate it!" and I'm all "whatever ho I didn't marry you to comment on my hentai and things!"
Anime is up and down. The first season was plagued by a lot of bad filler, but got good again around the end. Then the 2nd was mostly good all around, but had a premature ending and the manga following where it left off became a convoluted mess even beyond Oh! Great's special brand of nonsense.
I really want to read this because of all the supposed "rage", but I don't think anyone has really spelled out why it's suppose to be "rage inducing" in the first place.
The producers probably created the poor environment which the show is produced in. This is probably the root cause of various problems which expand across the overall production. But beyond that I think it is hard to blame individual animators for what seems like a systemic problem with the show in general. If there is something which is badly drawn, animators can be at fault. But if something is simply boring, then it is more likely that the problem stems from direction and storyboarding. Animators ultimately follow directions and requests to deliver a given scene. If they are asked to draw something which is boring, that's what they will have to do.
For example, I think we can look at the opening sequence for Fujiko to see where the problem originates. I've heard many people complain that the opening is cheap, and looks like a low budget production which doesn't make good use of the designs. There isn't much "animation" at all, and it just looks tacky.
But is this because there weren't good animators on the opening? Not at all! In fact, there are many prolific animators credited on the opening sequence who are known to be able to do very lively and stylish animation. So why is there nothing of that sort in the opening? Probably because the sequence is exactly as the director wanted, and it was how she storyboarded it as well.
If you get a bunch of good animators together and ask them to animate crap, you will still get crap. Animators are not going to argue with the director because that would be unprofessional. They might offer suggestions of how to better use their own skills, but such advice can be ignored as ultimately the director makes the final decisions.
Then it's simply a question of whether or not one liked the direction of the OP. I noticed that a lot of the complaints about the OP ended after episode 1, when a newer and much-better OP was put in place for episode 2. Since the OP hasn't changed since then, yes: it's gotten to where it needs to be, and the budget's shifted away from that to the episodes. The OP works without a need for animation anyway, so that's fine with me. The episode production is where the problems appear, which was the case in three episodes.
That's what my wife always says whenever I look at Tony Taka pics. :/ She's all like "his art is pretty and stuff but they all look exactly the fucking same, I hate it!" and I'm all "whatever ho I didn't marry you to comment on my hentai and things!"
Then it's simply a question of whether or not one liked the direction of the OP. I noticed that a lot of the complaints about the OP ended after episode 1, when a newer and much-better OP was put in place for episode 2. Since the OP hasn't changed since then, yes: it's gotten to where it needs to be, and the budget's shifted away from that to the episodes. The OP works without a need for animation anyway, so that's fine with me. The episode production is where the problems appear, which was the case in three episodes.
I think you're missing the point of what I was trying to say. If the director is content to engage many talented animators to contribute to the OP, only to not use their abilities to the fullest, then that suggests that she is also content to do the same with the rest of the series.
I don't think that's the case with the designs themselves. Look at what Koike can do with his designs, in both Trava and REDLINE. I think it comes down to the animator talent in particularand, of course, that goes back to the production process itself.
I think you're missing the point of what I was trying to say. If the director is content to engage many talented animators to contribute to the OP, only to not use their abilities to the fullest, then that suggests that she is also content to do the same with the rest of the series.
I want to ask you; who is this person that assigns the animators for that piece of work? I thought it would be the animation director. Isn't the availability of each animator to do the task important for that selection as well?
I want to ask you; who is this person that assigns the animators for that piece of work? I thought it would be the animation director. Isn't the availability of each animator to do the task important for that selection as well?
This sort of thing varies from production to production, but yes usually the animation director for the specific segment (an episode, an OP, an ED, etc) is the first to assign cuts to animators. Production advancement staff could also be involved in the process because they would know best with regards to the availability of animators and overall workload balance. Unit directors can also request specific animators of course.
I gotta admit these last few episodes have been more entertaining than what came before. If nothing else, I'm now actually caring a bit about what's going on.
At the pace I'm going once I'm all caught up Despera might even be out already!
This sort of thing varies from production to production, but yes usually the animation director for the specific segment (an episode, an OP, an ED, etc) is the first to assign cuts to animators. Production advancement staff could also be involved in the process because they would know best with regards to the availability of animators and overall workload balance. Unit directors can also request specific animators of course.
A much needed return to form and the last of the episodes Dezaki storyboarded under a pen name or so I learned from this very thread. Stills that helped enhance mood, Goemon's grim humor, and a pretty great story helped move things along well.
I really liked the premise of Lupin's gang being forced to pay their own ransom as well as their solution being literally making their own money.
Also liked the tension caused by the watches and the accompanying constant checking of them and the telephone scene. By no means am I certain but is it safe to assume the balloon chase was more due to Miyazaki? Tension and drama gave way to some real silliness in that sequence.
... :lol at the end though.
So much for it being boring to run cons on one another all the time.
Initially I thought she looked a little non-standard for the show but it's that shading.
I gotta admit these last few episodes have been more entertaining than what came before. If nothing else, I'm now actually caring a bit about what's going on.
At the pace I'm going once I'm all caught up Despera might even be out already!
We're just about keeping pace (I just finished 17 yesterday). I mostly watch it for Gin and the girl in red, whatever her name is. She's pretty funny. I'm hoping there's a plot line coming up and it isn't 200+ episodes of one-shots, though.
We're just about keeping pace (I just finished 17 yesterday). I mostly watch it for Gin and the girl in red, whatever her name is. She's pretty funny. I'm hoping there's a plot line coming up and it isn't 200+ episodes of one-shots, though.
We're just about keeping pace (I just finished 17 yesterday). I mostly watch it for Gin and the girl in red, whatever her name is. She's pretty funny. I'm hoping there's a plot line coming up and it isn't 200+ episodes of one-shots, though.
We're just about keeping pace (I just finished 17 yesterday). I mostly watch it for Gin and the girl in red, whatever her name is. She's pretty funny. I'm hoping there's a plot line coming up and it isn't 200+ episodes of one-shots, though.
Another point I feel is relevant in Fujiko is that there are a lot of costume changes from episode to episode. These alone take up design time, and it could be enough of a headache for animation directors to keep track of, so it becomes less likely that they would want to try further "creative" forms of animation for a given character design, outside of what is already established.
this is the one to get right? (edit: looks like the cheaper bd/dvd combo doesnt ship overseas so i'll just wait for the single bd re-release to drop in price )
Wish I could gif that. Well animated nipple sword fight ftw!
Is it just me or has Milky Holmes gotten even stupider this season, especially Sherlock? Some of the things they say are facepalm worthy, but that's why we love them.
Wish I could gif that. Well animated nipple sword fight ftw!
Is it just me or has Milky Holmes gotten even stupider this season, especially Sherlock? Some of the things they say are facepalm worthy, but that's why we love them.
Ah, Famitsu has more info on the Eureka Seven AO hybrid disc:
The anime part of the Eureka Seven AO hybrid disc is a thirty minute OVA that bridges episodes 8 and 9 of the television series. The game part is "Eureka Seven AO Attack the Legend", an action game that lets you take control of mecha from Eureka Seven and its offshoots.
As with all hybrid discs, Namco Bandai is packing in the bonus footage. You'll find over 80 minutes of footage, including a look at the premier event for the Eureka Seven pachislot game, and a dialogue with the voice cast. A limited edition version will include a special box, a script, and "Eureka Seven Archive."
This latest PS3 hybrid disc will be released on September 20, priced ¥7,980 in standard form and ¥10,500 in LE form.
When Railgun was anything but slice of life it got really disappointing. I thoroughly enjoyed episodes like 3
where the four were hunting down the esper who drew eyebrows on her victims. It was fun, it gave us insight on the other espers of Academy City, the villain wasnt some mad scientist who was bent on destroying everything we knew and it was done in one episode.
It was just the four girls doing their thing and not having to save the city.
Then with arcs like Level Upper, the show tried to have a linear plot and I think it suffered from a few of the same problems Index experienced. That is, convolution of terminology, failed attempts to make villains sympathetic and too much talking during battles. Granted there aren't many heavy-handed morality speeches but rather a lot of, "And this is what my power does. By all means, don't attack me while I spend 2 minutes going over how my power works." All of this and the writers are simply not good at constructing suspenseful, engrossing stories that take place over the course of multiple episodes. Slice of life is where Railgun shines and sadly, I think the ratio for slice of life and anything else is about half.
At the end of it all, I still dont know that much about Academy City. 24 episodes and all these arcs about the Level 0s and I still dont know what it truly takes to increase your level. I dont even know how Misaka became as powerful as she is. The show says that she worked really, really hard to become a Level 5 but it contradicts this by showing the audience a super laidback Misaka who just hangs out with her friends. Nothing about her personality screams work ethic. What sort of training was involved to get to her level? It was especially frustrating during climax of the Level Upper arc where Misaka
defeats the monster thing by saying to the people inside to basically suck it up and work harder. If anything, the moral message to work harder to realize your potential, fails to get across because we, as the audience, have no idea what it means to work harder, in Academy City. At that point you cant help but demand an answer to the question: How exactly do you level up in this city?
By the end of the arc, I found myself being more sympathetic
of the Level Upper users
and having less respect for Misaka for making such a broad and idealistic statement.
And then theres Touma. His dumbass should not have been in this show even if he was in a handful of episodes for no more than 5 minutes at a time. Well, at least the characters in Railgun are actually humans with more than two emotions and gasp, flaws. Theres that and the fact that at least half of Railgun was slice of life. If Index is a plate of dog food, mixed with human fecal matter then Railgun is a slice of bread. Meaning youll either be thankful that it isnt Index or youll be pissed off that its not something better. Or maybe both. Let me also state that it didn't please me when the OP/ED were changed at the midpoint. only my railgun/Dear My Friend was an amazing combination. 2/5
That being said, I would gladly watch a show featuring Kuroko reading an assortment of monologues with the words, "Onee-sama," at the end of every sentence, for 24 episodes.
Nichijou 26 (Final)
If there was one sound that I constantly heard while watching Nichijou, it had to be, Swoosh. It was the sound of Short Thoughts, Helvetica Standards and all the other super short skits flying over my head like a bird traveling at Mach 2. Never before had I watched so many skits that were so polarizing. My reactions were often either, I didnt get it. Or, Okay, too much, I get it, I get it. Rarely was there where it fell right in between. As youd suspect, the aforementioned skits fell in the former. I think those that fell in the latter were just as problematic, with some gags overstaying their welcome. Take Episode 21s skit of Yukko getting punished. It runs about 10 seconds too long. To the point where a simple, Oh, I can understand how thats humorous. Turns into an, OKAY, WE GET IT, STOP. Another example that comes to mind would be a latter episodes skit of Mio misundertstanding Sasaharas interactions with
Nano, causing her to run for about 50 miles.
That being said, Nichijou deserves praise in a few areas. The soundtrack for instance is wonderful and the orchestral score by Yuuji Nomi complements each skit with the pretense of a seemingly ordinary beginning and concludes it with a sometimes ironic finish. The voice acting is, of course, solid especially for Yukko and Mio.
Like Railgun, I didn't like the change of OP/ED in the second half.
Overall, a more miss than hit comedy in my opinion but I dont regret watching it to completion.
Hanasaku Iroha 26 (Final)
Now heres a show that makes me want to slap myself for dropping. My reason for dropping was probably a mix of skeptical expectations and boredom. Really, the one question I asked myself when I dropped this on episode 4 was, Is this show really going to use 26 episodes to tell Ohanas story? Does she alone really warrant that many episodes? And thankfully, after sucking it up and just watching, I realized Hanasaku Iroha was more the Kissui Inns story than it was Ohanas. One aspect of it that I want to praise is the shot composition. Having watched Another, Ive learned that P.A. Works is just one of those studios who havent disappointed me lately in terms of scenery (Angel Beats not being considered in this statement). From the lush locales to the actions of the background characters, when there was a certain energy to a location that needed to be conveyed, it was done very well. In Tokyo for example, the way cars drive in the background or the motion of people walking. It looks very grounded in reality and supplements the shots very well.
The sum of the parts is much more engrossing than the lead or her family for that matter. The most important thing was that the daily happenings of Kissui Inn were almost always at the forefront. The way the characters as a whole are developed was well paced and by the end of it, I felt I was truly going to miss them. Bring on the movie. And Tari Tari for that matter, too. 4/5
