Well that's one way to end a show. What a strange amalgam of events that really messes with the canon. I mean, friggin Ithnan got development! I didn't even know that guy's name, so I had to look him up on the Magi wikia! Ah well, at least there was some cool action.
The show itself was definitely something. There really were way too many liberties taken with the source material. There were a few that worked and actually ended up pretty entertaining, but it was mostly trying to fix something that didn't need fixing.
That isn't to say I disliked it. In fact, I'm probably one of the few here, manga fan or otherwise, that thought it was a pretty good show even if it can hardly be called a good adaptation. The finale was strong in its own weird way and there were a few high points in the middle.
Still, while I did like it, I would strongly recommend anyone that was excited and ultimately let down to read the manga. It's really quality stuff.
I can't really think good insert song in mecha series that make me teared up, but Gun/Diebuster make me cry like 5 year old, the special ending song from GGG too.
I can't really think good insert song in mecha series that make me teared up, but Gun/Diebuster make me cry like 5 year old, the special ending song from GGG too.
Though this episode had hilarious moments like the Statue of Liberty Cannon on the Manhattan Military Island and GORBY II the Space Ship, the absolute best moment of the entire episode is Ulube, caressing Dark Rain tenderly as he mocked Domon.
Master Asia derided the Gundam Fight as something which made light of war, and in that mock-war Ulube came to desire true warfare at the hands of Master Asia. He then took Master Asia's star pupil, and using the father of said pupil's erstwhile girlfriend, triggered the death of the pupil's mother, the imprisonment of the father, and honed Domon and Rain into a dagger he could point right at Master Asia. Then, with Master Asia dead, and Hong Kong's Wong out of the way, he took Rain and used her to revive the Dark Gundam.
So, ultimately, Schwarz Bruder, Wong, Master Asia, and Dr. Mikamura's schemes have ALL played perfectly into the hand of this psychopath, and he explains this all in perfect detail while feeling up Domon's girlfriend before his helpless eyes.
I have to admit, the only disappointing thing about the ending of sequence of G Gundam to me is
Ulube, if only because the revelation with Rain's father was done so much better just a few episodes ago. Everything about Dr. Mikamura-his motivations, his presence in the story as an erstwhile good guy, the degree to which the audience cared about him beforehand-is vastly superior to Ulube, who had basically been a minor character through most of the show. I really wish he had been fleshed out more and over a longer period of time than what he actually got. As it is, it's really no great loss to the story when some Super Robot Wars games just leave him out entirely.
I think if I'm eventually going to cry at a work of fiction, it won't actually be something like Grave of the Fireflies. I'll be too well prepared. It's going to be something that catches me off guard and hits me juuuuuuuuust in the right spot to trigger that response. I just don't know what the hell that spot is.
I think if I'm eventually going to cry at a work of fiction, it won't actually be something like Grave of the Fireflies. I'll be too well prepared. It's going to be something that catches me off guard and hits me juuuuuuuuust in the right spot to trigger that response. I just don't know what the hell that spot is.
Yay, finally watched LWA! So good. It makes things like rotating objects and interesting camera angles seem so easy! The movements were fantastic too of course. Definitely recommendable to anyone! Also, everyone was so moe.
See, that's kinda the problem. You say, "Watch Wolf Children", but now I'm more prepared going in. I've reinforced the wall. Unless this is like a emotional nuke, I'm not optimistic about this being the thing to break me.
See, that's kinda the problem. You say, "Watch Wolf Children", but now I'm more prepared going in. I've reinforced the wall. Unless this is like a emotional nuke, I'm not optimistic about this being the thing to break me.
Not sure why the director's word should count for much when it comes to whether one should cry.
I didn't cry at Wolf Children - but it's certainly moving. Even the sadness is tempered by the triumph of having arrived at the end of the journey, and the realization that a new one is just about to begin.
I have to admit, the only disappointing thing about the ending of sequence of G Gundam to me is
Ulube, if only because the revelation with Rain's father was done so much better just a few episodes ago. Everything about Dr. Mikamura-his motivations, his presence in the story as an erstwhile good guy, the degree to which the audience cared about him beforehand-is vastly superior to Ulube, who had basically been a minor character through most of the show. I really wish he had been fleshed out more and over a longer period of time than what he actually got. As it is, it's really no great loss to the story when some Super Robot Wars games just leave him out entirely.
This was definitely an improvement over the last episode, but it remained thoroughly inconsistent, only ever elevating itself to the quality it typically possessed throughout the first arc during the relatively compelling moments that solely focused on Sorata and Mashiros relationship, particularly the
final scene, which was a pretty satisfying and touching moment
. Though quite mediocre in quality, this episode was reasonably well-paced, deftly shifting between an abundance of necessary dynamics within the narrative. Of course, the biggest weakness of this episode, aside from the contrived dramatics, was
Nanamis pointless interaction with Sorata
towards the end of the episode.
The opening sequence and another of a similar nature towards the end were quite well-directed, in which the thoughts of several characters were momentarily touched upon, skillfully weaving a plethora of individualistic emotions into compelling vignettes. As such, the opening essentially established the romantic, yet slightly melancholic, tone that would permeate the following developments. This fleeting depiction of their introspective thoughts illustrated that Sorata, even upon
waiting for Aoyama to appear, was thinking only of Mashiro
. Id love to assume that this moment, along with
Sorata and Mashiros final conversation
, foreshadows a necessary progression in the narrative, but it remains unlikely, since seemingly every proper development that Sorata and Mashiro experience proceeds to immediately be followed by a pointless return to forcing Mashiro into the periphery while Aoyama continues to indulge the farcical mirage of her perpetually unrequited feelings ever being reciprocated, as evidently illustrated by
her dull interactions with Sorata, all of which possess a distinctly one-sided nature
.
Mashiro and Soratas poignant conversation toward the end of the episode was easily my favorite sequence, as it illustrated a furtherance in the intriguing development for Mashiros character, while also illuminating
the highly noticeable, yet still unrealized, romance between them
. It was essentially a
confession of sorts
, which, though terrific, will make the imminent regression quite unrealistic. However, I continue to greatly enjoy the rather slow development of
Soratas feelings for Mashiro
, as, once again, this emotional flourish was illuminated by several distinct moments, partially depicted by
Soratas blushing reaction towards Mashiro after first noticing her wearing a dress
. Soratas momentary expression strongly alludes to the clear dichotomy between his
hardly realized romantic feelings for Mashiro and his comfortable friendship with Aoyama
. Also, though disappointingly brief, it provided a very satisfying glimpse of
Sorata, though displaying slight development prior to the thirteenth episode, has been portrayed as a character devoid of substantial maturation throughout the last two, since his
unjustified anger towards Mashiro
isnt even derived from a singularly legitimate reason, but rather a petty excuse for him to
smother her with his petulant indignations
. The opening interaction between
Sorata and Mashiro was thoughtlessly cruel and undeniably indicative of self-interest and nothing more
, which is quite disappointing, since his development was progressing quite satisfactorily prior to this second arc. As such, Sorata was rather unlikable throughout this episode, particularly during the first half, as his
impulsive tirades at nearly every word Mashiro spoke were ridiculously excessive and needlessly irritating
, distinctly transitioning past what initially was an understandable response into a repetition of highly unsympathetic tendencies. Following several odd reactions toward
Mashiros kindness
, I was thoroughly expecting and hoping for
an apology of some sort
, which, unfortunately and inexplicably, never truly arrived, much to the detriment of
his characterization in this episode
. Though I was rather satisfied in the manner with which this particular development was resolved, it was definitely the most contrived and exceedingly dramatic complication in the show up to this point, aside from
Aoyamas absurd decision to miraculously enter Sakurasou
.
Aoyamas
date with Sorata
was, predictably, the least interesting aspect of the entire episode, as their dynamic is
entirely absent of romantic chemistry
, instead relying on a repetition of banal affections from
an oblivious Aoyama
. Essentially, this momentarily detracted from the effectiveness of the episode as a whole, since it appeared, yet again, to be infused into the progression of the episode for the sole purpose of reestablishing the unfortunate realization that
Nanami does, in fact, tangentially remain relevant to some weakly defined triangle
. This is, of course, nonsense, but it continues to disappointingly permeate nearly every episode. Aoyamas
occasionally denied, yet strongly felt, hopes for an elevated relationship with a Sorata that is noticeably dismissive of their date and seemingly connected to Mashiro in a particularly romantic fashion
are absurdly naïve, as though shes hopelessly
clinging onto an inevitably illusory affection
, which appears to be one of the only elements within her characterization that has ever existed. As such, these monotonous excursions into Aoyamas romantic aspirations are consistently illuminated as meaningless diversions from the narrative.
Jins
confession to Misaki
was nice, so its unfortunate that it was eventually undercut by the
melancholic conclusion
following the ED. Im really hoping that the proclivity for riddling
their relationship with a plethora of avoidable complications
is heavily diminished soon, since this repetitious element is nearly as perplexing as
Aoyamas continued interference in the development of Mashiro and Soratas inevitable relationship
. Though this episode was practically absent of any particularly effective humor,
This episode was rather well-directed, displaying a marked improvement over the last, as it handled the material with a surprising touch of emotional resonance. The animation was excellent throughout, especially during
Mashiro and Soratas conversation by the fountain
. Musically, though the selections are rather sparse, this episode was quite good, as they typically complemented the moment they were accompanying, such as
Misakis conversation with Mashiro
. The outro was really effective as well.
All in all, though this episode was merely mediocre, Sakurasou has deteriorated considerably following the excellent conclusion to the first arc, displaying an unnecessary tendency towards perpetuating a thoroughly tiresome stagnancy within the narrative. It remains quite capable of producing enjoyable interactions or an occasional moment of heightened emotions, but theres hardly any consistency within the story, as it illustrates an inability to properly transition from one meaningful development to the next. It appears, unfortunately, that
Mashiros prevalence has been increasingly diminished following the twelfth episode
, in favor of a heightened focus on
Aoyama
, which is an altogether flawed approach. This momentary tendency seems entirely borne from a ridiculous inclination towards manufacturing an unnecessary balance in the narrative, since
Aoyamas presence in the story will inevitably be extinguished long before Mashiros
. Id likely appreciate this direction if it actually created any sort of substantial tension. Instead, she merely appears to be an
insignificant hindrance to the development of Sorata and Mashiros relationship and the necessary progression of several elements within the story
; both of which are far more integral and compelling than
Aoyamas trite and unmistakably pandering interactions with Sorata
I think if I'm eventually going to cry at a work of fiction, it won't actually be something like Grave of the Fireflies. I'll be too well prepared. It's going to be something that catches me off guard and hits me juuuuuuuuust in the right spot to trigger that response. I just don't know what the hell that spot is.
I have to admit, the only disappointing thing about the ending of sequence of G Gundam to me is
Ulube, if only because the revelation with Rain's father was done so much better just a few episodes ago. Everything about Dr. Mikamura-his motivations, his presence in the story as an erstwhile good guy, the degree to which the audience cared about him beforehand-is vastly superior to Ulube, who had basically been a minor character through most of the show. I really wish he had been fleshed out more and over a longer period of time than what he actually got. As it is, it's really no great loss to the story when some Super Robot Wars games just leave him out entirely.
I get a weird feeling that discussing this is going to be fruitless . . . do point me to the interview or article that states as such, though. Most of Takahata's words regarding the movie have been about the impetuousness of the characters, or rather, their youth and how he perceived their immaturity as something the youth of today can relate to, rather than yet another ennobling of the ones who came before; a rough parallel would be how the 'greatest generation' is perceived in America. He's not saying that you shouldn't cry, just that his intent wasn't exploitative in that sense, i.e. yet another tragedy porn.
Besides, I love Takahata but he can be wrong! He doesn't like Honneamise!
Saikano would have been more depressing if it wasn't so monumentally stupid... the idiocy of the plot distracts from the sadness. Overall it's much more dumb than sad.
Now Texhnolyze, THAT was depressing. Without question, that is the most depressing anime I have watched all the way through. But it's also absolutely brilliant beginning to end...
Now Texhnolyze, THAT was depressing. Without question, that is the most depressing anime I have watched all the way through. But it's also absolutely brilliant beginning to end...
I get a weird feeling that discussing this is going to be fruitless . . . do point me to the interview or article that states as such, though. Most of Takahata's words regarding the movie have been about the impetuousness of the characters, or rather, their youth and how he perceived their immaturity as something the youth of today can relate to, rather than yet another ennobling of the ones who came before; a rough parallel would be the 'greatest generation' of WWII in America. He's not saying that you shouldn't cry, just that his intent wasn't exploitative in that sense, i.e. yet another tragedy porn.
Besides, I love Takahata but he can be wrong! He doesn't like Honneamise!
SAN値！(／・ω・
