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Summer 2012 Anime |OT3| Where All the Waifus Are Made Up and the Points Don't Matter
- Thread starter Branduil
- Start date
- Status
Considering how important editing is to every form of media under the sun...
Muv-Luv Alternative: Total Eclipse 12
Episode was a bit too slow. When it was about to end I couldn't believe it. I couldn't believe I would have to wait for yet another episode to see this situation really move forward.
Other than that though it was good. Yui is almost over her old hang-ups and hopefully she'll kick some asses in the future. She's also not over her
which is her best trait.
Episode was a bit too slow. When it was about to end I couldn't believe it. I couldn't believe I would have to wait for yet another episode to see this situation really move forward.
Other than that though it was good. Yui is almost over her old hang-ups and hopefully she'll kick some asses in the future. She's also not over her
"bring complete misfortune onto others" (my thoughts are with you, corporal! You died an heroic death, just like you wished!)
Regulus Tera
Romanes Eunt Domus
Lord of the Rings got so much mileage out of that. It's difficult to blame them when trying to ape that.
KO Traveling Hobo
Member
Chet Rippo
Member
Qwaser of Stigmata II 2
Some sort of drama happening between the bishoujo and wheelchair moe girl. Now they know where the Magdalena of Thunder is or something. The tease at the beginning with the original girls makes me wish they had more of an importance this time. None of the new girls are as talented as them.
Banana-chan approves!
A Moe Blob draws near!
Command?
Regulus Tera
Romanes Eunt Domus
PoyoPoyo 36 has Chet's Official Seal of Approval too. (nsfw)
Please tell me they don't pay these people to spout this shit.
Yes.
I will never comprehend the amount of tireless dedication needed to make this, the full scale Enterprise model, or the working 3D printer. Minecraft players must have nothing but time on their hands. Its kind of disturbing.
KO Traveling Hobo
Member
I think it's incredible. I don't think I could ever be that dedicated to anything.
My problem with that comparison is that it disregards Warhol's place in the larger pop art movement and the ideas/concepts behind his work. An AMV and Warhol's work aren't nearly similar because of how Warhol (and other artists like Lichtenstein) reinterpret art and influence the thinking of their time. I don't really know much about this as most of my understanding about art is through self-research in my free time, but the difference between an AMV maker and Warhol in the context of the art in their time is pretty obvious to me.
It also ignores that Warhol was a prolific artist who also made movies and such, but whatever.
Chet Rippo
Member
Really I'm just going to continue to write off AMVs. Andy Warhol was a creative mind who brought forward new ideas that pushed the boundaries of what was expected of art at the time. It is impossible for me to think of a more absurd comparison than to mashup the work of others and point at one of the most influential modern artists and say "my stuff is like that."
Because it's not and I don't know why you feel the need to humor this idiot.
hosannainexcelsis
Member
One Piece Movie 6: Baron Omatsuri and the Secret Island
I rewatched this film recently, and appreciated the craft on display even more than the first time. The planning and execution of the narrative arc from beginning to end is nothing short of masterful. There were three things in particular that I noticed this time that I wanted to comment on.
1. The layouts are consistently excellent, placing the characters in creative and meaningful positions in relation to each other and their environment. Of course, the designs themselves are attractively loose, making them not only ideal for animation but also ideal for making good looking poses. (It's a far contrast from the early episodes of the TV show, which are notable for goofy and unnatural contortions of the characters.)
Over the first hour, there's a gradual shift in how the characters are framed, matching the shift in their relations that's taking place. At first, their togetherness is emphasized:
Note how, even though these are reaction shots centered on one character, they include other Straw Hats in the background.
Later on, the shots instead emphasize their isolation:
Not only are the characters in these shots alone; they are also cut off from the outside world by environmental elements: Sanji by the pool wall and of course by being a mere reflection, and Usopp by the fire whose light sharply contrasts his shadow.
Although this process of separation occurs gradually, there is a sharp pivot point where the tone and look of the film irrevocably changes. Immediately after
, we cut to a series of moody landscapes featuring Chopper wandering around an abandoned city:
Even though some cracks had been gradually showing, the tone of the film up to this point was essentially that of a light-hearted adventure. (So the silly sequence straight out of a silent film where Luffy is chasing Patch accompanied by honkytonk piano.) The loneliness that these images evoke, the darkness of the encroaching shadows seeking to swallow Chopper up - it's quite different from anything we've seen before and sets the stage for the rest of the film. It also initiates the move from a brighter to a darker color scheme that you can notice between the earlier pairs of images.
All of this shows the handiwork of someone fully in command of the visual language of film and how to deploy it for storytelling.
2. I had forgotten how much use of CG there was, most notably for the goldfish but also for things like the flower stem on the mountain and the buildings in the canal:
I won't say this looks great - the gray walls of the canal stand out particularly poorly - but I do think the colorful art design of the buildings keeps the CG from being too distracting.
3. The entire climax is played out mostly in silence. Lesser filmmakers would have felt the need to ramp up the volume and energy of the soundtrack to create drama, but Hosoda understands that sometimes the best way to maximize aural intensity is to cut out sound altogether. (Come to think of it, there's a pivotal scene at the climax of The Girl Who Leapt Through Time which relies on silence as well.) Bombastic music wouldn't convey
nearly as well.
I rewatched this film recently, and appreciated the craft on display even more than the first time. The planning and execution of the narrative arc from beginning to end is nothing short of masterful. There were three things in particular that I noticed this time that I wanted to comment on.
1. The layouts are consistently excellent, placing the characters in creative and meaningful positions in relation to each other and their environment. Of course, the designs themselves are attractively loose, making them not only ideal for animation but also ideal for making good looking poses. (It's a far contrast from the early episodes of the TV show, which are notable for goofy and unnatural contortions of the characters.)
Over the first hour, there's a gradual shift in how the characters are framed, matching the shift in their relations that's taking place. At first, their togetherness is emphasized:
Note how, even though these are reaction shots centered on one character, they include other Straw Hats in the background.
Later on, the shots instead emphasize their isolation:
Not only are the characters in these shots alone; they are also cut off from the outside world by environmental elements: Sanji by the pool wall and of course by being a mere reflection, and Usopp by the fire whose light sharply contrasts his shadow.
Although this process of separation occurs gradually, there is a sharp pivot point where the tone and look of the film irrevocably changes. Immediately after
Patch tells Luffy that Omatsuri separates friends
Even though some cracks had been gradually showing, the tone of the film up to this point was essentially that of a light-hearted adventure. (So the silly sequence straight out of a silent film where Luffy is chasing Patch accompanied by honkytonk piano.) The loneliness that these images evoke, the darkness of the encroaching shadows seeking to swallow Chopper up - it's quite different from anything we've seen before and sets the stage for the rest of the film. It also initiates the move from a brighter to a darker color scheme that you can notice between the earlier pairs of images.
All of this shows the handiwork of someone fully in command of the visual language of film and how to deploy it for storytelling.
2. I had forgotten how much use of CG there was, most notably for the goldfish but also for things like the flower stem on the mountain and the buildings in the canal:
I won't say this looks great - the gray walls of the canal stand out particularly poorly - but I do think the colorful art design of the buildings keeps the CG from being too distracting.
3. The entire climax is played out mostly in silence. Lesser filmmakers would have felt the need to ramp up the volume and energy of the soundtrack to create drama, but Hosoda understands that sometimes the best way to maximize aural intensity is to cut out sound altogether. (Come to think of it, there's a pivotal scene at the climax of The Girl Who Leapt Through Time which relies on silence as well.) Bombastic music wouldn't convey
Luffy's utter despair and desperate rage
I'm not humouring him. I just see the statement as being a launching pad for discussion - that's what a forum is for. Or I could have just posted a lulzy gif, because lord knows we need more of those on this page now.
Just because, in this instance, it's a ridiculous comparison - I don't deny that, Andy Warhol's creativity is leagues ahead of even the most gifted AMV editor with a fancy copy of Final Cut and Adobe After Effects because he actually created things from scratch - doesn't mean that all AMVs are without any artistic merit whatsoever, which is the dominant sentiment in this thread, and it doesn't mean that it's not something worth talking about as AMVs certainly used to be a fairly interesting part of anime fandom.
Even when I know what is going to happen next, I still find myself enjoying this series a lot. This phenomenon was quite acute in this episode in that I almost knew the whole plot after the first two scenes. Part of me wants to be upset about the lack of originality in the series but most of me just wants to sit back and enjoy the ride. I can't tell if that means I am watching too much or too little anime
CornBurrito
Member
Hyoka 5
Wowwwwwww. This series is really good. It sure started slow, but it is so worth it.
Wowwwwwww. This series is really good. It sure started slow, but it is so worth it.
Smile Precure 31:
firehawk asked for it and he got it.
You really have to respect the Bad End Kingdom R&D department for being able to churn out new advances in EEEEEEVIL technology at such an alarming rate but it continues to be all for nothing when your opponents just have to dig deeper into their convictions in order to nullify whatever advances you make.
lol SSJ Candy etc etc, the weirdest part of the episode for me was the sensual group cookie-chewing session that went on way too long. Just really, really weird stuff. It wasn't a great episode, but then again episodes that advance the plot outside of midseason/endgame rarely are.
firehawk asked for it and he got it.
You really have to respect the Bad End Kingdom R&D department for being able to churn out new advances in EEEEEEVIL technology at such an alarming rate but it continues to be all for nothing when your opponents just have to dig deeper into their convictions in order to nullify whatever advances you make.
lol SSJ Candy etc etc, the weirdest part of the episode for me was the sensual group cookie-chewing session that went on way too long. Just really, really weird stuff. It wasn't a great episode, but then again episodes that advance the plot outside of midseason/endgame rarely are.
Razgriz-Specter
Member
Anyone own these Rinne no lagrange figures?
wondering about the size and quality.
Regulus Tera
Romanes Eunt Domus
Saint Seiya Omega 17
New girl: I'm running away from the bad guys to find something special.
Saints: You are running away from the bad guys to find something special?
New girl: Yes, because my master needs a special macguffin to do macguffin stuff.
Saint: That macguffin stuff can only be done with special macguffin right?
New girl: Yes, and that's why I'm running away from the bad guys.
Repeat until everyone goes goofy-eyed:
This show has been an eye opener regarding just how much can good stock animation carry an otherwise formulaic narrative. I wish I were watching Heartcatch instead.
New girl: I'm running away from the bad guys to find something special.
Saints: You are running away from the bad guys to find something special?
New girl: Yes, because my master needs a special macguffin to do macguffin stuff.
Saint: That macguffin stuff can only be done with special macguffin right?
New girl: Yes, and that's why I'm running away from the bad guys.
Repeat until everyone goes goofy-eyed:
This show has been an eye opener regarding just how much can good stock animation carry an otherwise formulaic narrative. I wish I were watching Heartcatch instead.
And the fucking doofuses didn't even meet Kiki! What a letdown.
Even when I know what is going to happen next, I still find myself enjoying this series a lot. This phenomenon was quite acute in this episode in that I almost knew the whole plot after the first two scenes. Part of me wants to be upset about the lack of originality in the series but most of me just wants to sit back and enjoy the ride. I can't tell if that means I am watching too much or too little anime
I dont have high expectations for the show to begin with, so it has been a fun watch.
Yui is really cute and reminds me of Rin from Usagi Drop.
hosannainexcelsis
Member
That's certainly more creative and interesting than, well, any other AMV I've seen. Thanks for that.
I think all of the GIFs are toward the idea that an AMV and what Warhol did were pretty much the same, not the idea that AMVs have artistic merit. At least, in my opinion, even a "derivative work" like an AMV, a doujin, or fanfiction is a reinterpretation from the author.
Chet Rippo
Member
Qwaser of Stigmata II 3
Some skinship, slapstick comedy and then finally some actual Qwaser fighting. The return of Katja-sama as well.
Brought to you by: Tido
I really hope Hana isn't dead
firehawk12
Subete no aware
I listened to that in the background last week. He wasn't quite saying that... lol
He was just trying to defend it as an "art" because Zac said that AMVs are essentially derivative works (you take existing anime and existing music and mash them together).
Having never really watched AMVs, I have no idea how much work goes into them at least.
Dedication Through Light
Member
Ka-ka-ka-ka-katcha-sama! Ill never be able to forget how she says that
RurouniZel
Asks questions so Ezalc doesn't have to
Yuru Yuri S2 12:
Cute little episode, but I'm kinda glad it's over. The gags were getting old, and while I like Ayano there isn't enough of her anymore. ;_;
And I'm pretty sure they didn't have a script before stepping on stage. ;P
Cute little episode, but I'm kinda glad it's over. The gags were getting old, and while I like Ayano there isn't enough of her anymore. ;_;
And I'm pretty sure they didn't have a script before stepping on stage. ;P
Crash Station
Member
AMVs aren't more like or better than Andy Warhol stuff. MADs are though.
Retrospective Analysis of Hyouka (Part 1 maybe...)
Often times I don't write up detailed impressions as I find I might just be explaining the obvious but then I read posts by people such as say Jexhius or Hosannainexcelsis detailing the visuals and I still might find them obvious but actually find them to be some of the most interesting of posts. Not to be rude but sometimes too I'm actually quite surprised by how many details that I thought were obvious and didn't really warrant any mention, many people actually didn't notice them and found such posts to then naturally be interesting as well.
For what it's worth then here are some of my thought on Hyouka...
Many people have mentioned that they thought Hyouka was subtle with many of it's points but I didn't really think so personally. While maybe obvious, I did appreciate the fact that, being a visual medium, I thought it was nice that points were explained visually rather than verbally and I found the visual metaphors to be quite eye pleasing with their creativity at times.
Another non-subtle scene was that at the beginning of episode 3 with Chitanda and Oreki at the coffee shop. There is a pinkish hue to the scene and the camera focuses on the pendulum of the clock which is heart shaped about 3 or 4 times. Sometimes the clock is center frame other times it is taking up the whole frame. After Chitanda mentions a favour the pinkish hue is gone and the clock pendulum goes back to being round and this is directly focused on by the camera with it taking up the whole screen.
I thought this was an obvious visual metaphor from Oreki's perspective in which the environment was visually representing his interpretations of Chitanda's actions, that being of a more loving interest. When this wasn't the case the scene "defuses" to that of the regular world. At the time I wasn't a member of NeoGaf and to be perfectly honestly was quite surprised by how many people posting impressions did not notice all these signs, especially the pendulum of the clock as the camera directly focuses on it multiple times.
Now with that visual symbolism mentioned, while I will agree that the progression of Oreki and Chitanda's relationship had a more subtle and gradual pacing to it's build up I think it was effectively shown he had an interest in her from fairly early on. Already mentioned in episode 3 was his thinking she had an interest in him. Even in episode 6 where Chitanda mentioned something about conserving energy along the lines of Oreki's thinking he had a visual thought of her such as this.
Then there was him imagining Chitanda at the hot springs and getting flustered. Later in episode 19 where their relationship had progressed that I believe they were both at least somewhat cognisant of the fact that they were interested in each other you had some very unsubtle shots framed as such here.
Back temporarily to episode 18 when Oreki is waiting for Chitanda you see him looking at a girl waiting for a boy and they then walk home together. Immediately after this Chitanda comes along with Oreki looking at her and you can tell that he's thinking of her in the same way that he saw the couple just moments before. In some ways I would have preferred it if they had just left it at this but they show some visual thought's of Oreki's in how the two would ride Chitanda's bicycle instead. While very much less subtle in presentation it did make for a bit of a humourous scene in how it was presented coupled with Yuuichi Nakamura's voice acting.
Moving away from Oreki and Chitanda's romantic interests there was even the visual metaphor of how each characters private room reflected their own personalities. When you look at Oreki's room it seemed to be fairly plain with mostly only the essentials such as a bed or a desk etc. This seemed to be a perfect outward expression of his "do only what is necessary and nothing more" type attitude. In contrast you have something such as Satoshi's room which had all kinds of objects that were all kinds of colours representing his more bright and outgoing personality. While the cultural festival arc helped to show Mayaka's love of manga she never really showed it beforehand in the show so I thought it was interesting that the first glimpse we got to see of this was her room and how she has all these manga books displayed, quite openly actually, on her shelves.
Regarding the actual mysteries themselves, they seemed to have a very deliberate focus as well. Many times the camera would deliberately highlight the relevant items of interest. As an example I will use episode 3. When Oreki is approaching the room Tougaito was in he stops and looks at an object on the wall. The camera directly focuses in on this object and he turns and looks at a similar object which the camera also focuses on. When Oreki gets to the room he is surveying how the inside looks and the camera will focus directly on his eyes signifying to the viewer when he stops on an item of interest to him. The camera will then fully frame an object such as the table or it will be positioned directly over Oreki's shoulder with a clear line of sight at what he's looking at or even vice versa where the object of interest is taking up most of the foreground and Oreki is in the background but quite clearly looking directly at said object.
I find this is a two fold visual clue to the viewer. Firstly being to pay attention to these objects highlighted because they are important to the mystery and secondly pay attention to only these objects, or perhaps at least emphasize these above all other clues as the camera is essentially going out of it's way to highlight them for you, showing you that they are what's important and not something else.
Even with Tougaito himself, when the audience first meets him his body language seems to be so emphasized that something is irritating him and Ryoutarou Okiayu's speech style is also showing he's very upset over something. Honestly it came across as almost overacting or over emphasizing this detail. I forget which but Chitanda asks Oreki, or vice versa, something like "it seemed like something was bothering him" or "did he seemed pretty irritated to you?". Honestly I would again have to say it was hard not to notice that detail, it felt like they were practically beating you over the head with it.
Finally for now, one little thing that bugged at least me personally was how some of the earlier mysteries were solved. In the student film arc Irisu mentions something called "Knox's ten commandments". These are a sort of set of rules one can use in regards to a mystery and while Hyouka never makes any mention of using them in itself, I found that Oreki seemingly broke Knox's sixth quite often in the earlier mysteries. The sixth reads "No accident must ever help the detective, nor must he ever have an unaccountable intuition which proves to be right."
The bolded seemed to fit Oreki pretty well, as it seemed to be somewhat one of his character traits and he seemed to often guess what the solution was to some mysteries. The solution presented for Episode 2 for example was too specific for the clues given and the show even seems somewhat aware of the fact with the characters asking Oreki how he did it but it's often lampshaded with Oreki saying something along the lines of "I just got lucky". Kind of minor but something that bothered me a little in the early episodes.
----
These are just some of my thoughts regarding Hyouka that were in my mind when these episodes aired but I never shared until now. I've actually got to go now but I might do a second part later detailing other points.
Again as always, thank you to those for reading.
Often times I don't write up detailed impressions as I find I might just be explaining the obvious but then I read posts by people such as say Jexhius or Hosannainexcelsis detailing the visuals and I still might find them obvious but actually find them to be some of the most interesting of posts. Not to be rude but sometimes too I'm actually quite surprised by how many details that I thought were obvious and didn't really warrant any mention, many people actually didn't notice them and found such posts to then naturally be interesting as well.
For what it's worth then here are some of my thought on Hyouka...
Many people have mentioned that they thought Hyouka was subtle with many of it's points but I didn't really think so personally. While maybe obvious, I did appreciate the fact that, being a visual medium, I thought it was nice that points were explained visually rather than verbally and I found the visual metaphors to be quite eye pleasing with their creativity at times.
From episode 1. Not very subtle but very effective in getting the point across and very visually pleasing with the lighting and coulour palette used.
Another non-subtle scene was that at the beginning of episode 3 with Chitanda and Oreki at the coffee shop. There is a pinkish hue to the scene and the camera focuses on the pendulum of the clock which is heart shaped about 3 or 4 times. Sometimes the clock is center frame other times it is taking up the whole frame. After Chitanda mentions a favour the pinkish hue is gone and the clock pendulum goes back to being round and this is directly focused on by the camera with it taking up the whole screen.
I thought this was an obvious visual metaphor from Oreki's perspective in which the environment was visually representing his interpretations of Chitanda's actions, that being of a more loving interest. When this wasn't the case the scene "defuses" to that of the regular world. At the time I wasn't a member of NeoGaf and to be perfectly honestly was quite surprised by how many people posting impressions did not notice all these signs, especially the pendulum of the clock as the camera directly focuses on it multiple times.
Now with that visual symbolism mentioned, while I will agree that the progression of Oreki and Chitanda's relationship had a more subtle and gradual pacing to it's build up I think it was effectively shown he had an interest in her from fairly early on. Already mentioned in episode 3 was his thinking she had an interest in him. Even in episode 6 where Chitanda mentioned something about conserving energy along the lines of Oreki's thinking he had a visual thought of her such as this.
Then there was him imagining Chitanda at the hot springs and getting flustered. Later in episode 19 where their relationship had progressed that I believe they were both at least somewhat cognisant of the fact that they were interested in each other you had some very unsubtle shots framed as such here.
The two of them are together in the center of the shot quite literally framed and it looks like Chitanda is leaning in to kiss Oreki when she's in reality only telling him something.
Probably even less subtle about the fact that their relationship has advanced to the point of being more lovingly interested in on another.
Back temporarily to episode 18 when Oreki is waiting for Chitanda you see him looking at a girl waiting for a boy and they then walk home together. Immediately after this Chitanda comes along with Oreki looking at her and you can tell that he's thinking of her in the same way that he saw the couple just moments before. In some ways I would have preferred it if they had just left it at this but they show some visual thought's of Oreki's in how the two would ride Chitanda's bicycle instead. While very much less subtle in presentation it did make for a bit of a humourous scene in how it was presented coupled with Yuuichi Nakamura's voice acting.
Moving away from Oreki and Chitanda's romantic interests there was even the visual metaphor of how each characters private room reflected their own personalities. When you look at Oreki's room it seemed to be fairly plain with mostly only the essentials such as a bed or a desk etc. This seemed to be a perfect outward expression of his "do only what is necessary and nothing more" type attitude. In contrast you have something such as Satoshi's room which had all kinds of objects that were all kinds of colours representing his more bright and outgoing personality. While the cultural festival arc helped to show Mayaka's love of manga she never really showed it beforehand in the show so I thought it was interesting that the first glimpse we got to see of this was her room and how she has all these manga books displayed, quite openly actually, on her shelves.
Regarding the actual mysteries themselves, they seemed to have a very deliberate focus as well. Many times the camera would deliberately highlight the relevant items of interest. As an example I will use episode 3. When Oreki is approaching the room Tougaito was in he stops and looks at an object on the wall. The camera directly focuses in on this object and he turns and looks at a similar object which the camera also focuses on. When Oreki gets to the room he is surveying how the inside looks and the camera will focus directly on his eyes signifying to the viewer when he stops on an item of interest to him. The camera will then fully frame an object such as the table or it will be positioned directly over Oreki's shoulder with a clear line of sight at what he's looking at or even vice versa where the object of interest is taking up most of the foreground and Oreki is in the background but quite clearly looking directly at said object.
I find this is a two fold visual clue to the viewer. Firstly being to pay attention to these objects highlighted because they are important to the mystery and secondly pay attention to only these objects, or perhaps at least emphasize these above all other clues as the camera is essentially going out of it's way to highlight them for you, showing you that they are what's important and not something else.
Even with Tougaito himself, when the audience first meets him his body language seems to be so emphasized that something is irritating him and Ryoutarou Okiayu's speech style is also showing he's very upset over something. Honestly it came across as almost overacting or over emphasizing this detail. I forget which but Chitanda asks Oreki, or vice versa, something like "it seemed like something was bothering him" or "did he seemed pretty irritated to you?". Honestly I would again have to say it was hard not to notice that detail, it felt like they were practically beating you over the head with it.
Finally for now, one little thing that bugged at least me personally was how some of the earlier mysteries were solved. In the student film arc Irisu mentions something called "Knox's ten commandments". These are a sort of set of rules one can use in regards to a mystery and while Hyouka never makes any mention of using them in itself, I found that Oreki seemingly broke Knox's sixth quite often in the earlier mysteries. The sixth reads "No accident must ever help the detective, nor must he ever have an unaccountable intuition which proves to be right."
The bolded seemed to fit Oreki pretty well, as it seemed to be somewhat one of his character traits and he seemed to often guess what the solution was to some mysteries. The solution presented for Episode 2 for example was too specific for the clues given and the show even seems somewhat aware of the fact with the characters asking Oreki how he did it but it's often lampshaded with Oreki saying something along the lines of "I just got lucky". Kind of minor but something that bothered me a little in the early episodes.
----
These are just some of my thoughts regarding Hyouka that were in my mind when these episodes aired but I never shared until now. I've actually got to go now but I might do a second part later detailing other points.
Again as always, thank you to those for reading.
Well since it was brought back up.
Mind Blown!
I found that the boobs were even more intimate in the second season than the first. At least I appreciated the archetypes they were attached to more.
I'm not sure I see any difference. This is a MAD. This is an AMV. So is this (a bad one, admittedly, but still). What's the difference in philosophy behind these that separates an AMV from an MAD except that MADs are Japanese in origin?
Crash Station
Member
I've always wondered what the hell the difference between an AMV and a MAD was so is this basically what it is?
Chet Rippo
Member
Number of boobs with inverted nipples.
Season 1 = 1
Season 2 = 0
I think the first season wins by default.
Dedication Through Light
Member
yes, lol.
Kingdom 16
Ah this next arc will be great once people get more stronger. Lu Buwei's forces definitely way better than Cheng Jiao's was, and they are all such interesting characters and personalities.
Lol when Zheng was all stomping his foot there angry once the Lu Buwi left
The pressure stuff reminded me of the early portions of Bleach when the characters have such intense well pressure auro around them that you cant stand up nor even speak.
In a very general sense that is the main difference. However you'll find that MADs often consist of either videos that use footage to match the audio of song rather than the words or sometimes taking one anime and super imposing it over the OP or ED of another show.
That's pretty damn cool, thanks for the link - and must have taken a damn long time to do all the tracing/redrawing.
Is something like this vaguely comparable?
Crash Station
Member
Joe Molotov
Member
Truth bombs droppin.
MADs use clever (not really) editing to accompany the melodies of existing music.
Super Mario World is a popular one.
As is Final Fantasy.
Super Mario World is a popular one.
As is Final Fantasy.
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