Haha, well, at least Sailor Moon sidesteps this as it's ultimately a matter of them accepting who they already are, and in Doremi it's entirely voluntary! Still, even if the outcome is the same, the process does matter.
-
Hey, guest user. Hope you're enjoying NeoGAF! Have you considered registering for an account? Come join us and add your take to the daily discourse.
Summer 2013 Anime |10th Dimensional OT| the first ignoble truth: all of life is anime
- Thread starter madp
- Start date
- Status
KirbYuuYuu
Member
I have to say, Ichigo managed to get the boy cock faster than all the other mahous.
And this is why they're the best. The whole putting your life on the line as a near-daily occurrence thing is significantly easier to swallow when you already know that you're going to be the queen of the world when all is said and done.
Crash Station
Member
Can there even be a Shin Great Mazinger with how it ended? Isn't the character that's supposed to save everyone gone since they messed with the continuity?
Gah, I really want to start my Getter and Mazinger watchthroughs, but I'm still working through these series first. Gah.
Glass Fleet 12
The end. Oh, still 14 episodes to go? Nevermind.
Glass Fleet 12
Everyone dies and the bad guys win.
Lots and lots and lots of horrible, painful, ugly, unbearably terrible CG space ovals fighting this episode. SUPER underwhelmed by the Glass Battleship Susan's "transformation". Like legit the most disappointing thing since finding out that Cleo was the least cool character on the show.
On the positive side of things, the sword fights weren't all that bad, really. Seeing Cleo lose a fight was even better. The treaty subplot would've been better if it hadn't been painted in such a black and white "this man is an obvious traitor" light. Interspersing the hymns and scenes of Betty's wedding throughout the battle was a nice touch, I'll admit. And as always, character design in this show is just about the best part of it.
On the positive side of things, the sword fights weren't all that bad, really. Seeing Cleo lose a fight was even better. The treaty subplot would've been better if it hadn't been painted in such a black and white "this man is an obvious traitor" light. Interspersing the hymns and scenes of Betty's wedding throughout the battle was a nice touch, I'll admit. And as always, character design in this show is just about the best part of it.
Shes a magical catgirl. A total magnet.
Can there even be a Shin Great Mazinger with how it ended? Isn't the character that's supposed to save everyone gone since they messed with the continuity?
I think they could manage.
Also I always thought that was some weird crescent moon there. It's the Brain Condor's cockpit reflection. :lol
KirbYuuYuu
Member
Tokyo Mew Mew 1
I'm sure it's suppose to be the other way around.
They sure went all out on enviromentalism chattery from the beginning, nevermind the fact that a fucking rat was our first enemy taken over by a Tentacool (those assholes), On top of kidnapping jailbait (actually that last part isn't necessary, kidnapping is bad period).
This was rather... standard for the most part other than that. I should probably consider how I'm going to pace this one overall.
I'm sure it's suppose to be the other way around.
They sure went all out on enviromentalism chattery from the beginning, nevermind the fact that a fucking rat was our first enemy taken over by a Tentacool (those assholes), On top of kidnapping jailbait (actually that last part isn't necessary, kidnapping is bad period).
This was rather... standard for the most part other than that. I should probably consider how I'm going to pace this one overall.
Told you its all environmental. It woll make absolutely sure to pound the ideas into your head captain planet style.
maybe slightly less blatant.
Already almost 5 year
Fuck you japan for not supporting this
2014 is the 40 year anniversary of Great Mazinger. Believe!!
KirbYuuYuu
Member
Come to think of it, watching TMM made me think, we don't really have any super Enviromental Precures right? I think the closest was Splash Star?
Only Kawamori really heeded the warning of Osamu Tezuka's Bagi. Hell, even TMM ignores it.
Or rather, took the lesson that many do when watching it: cat people are kinda cool.
Didn't even realize Super Robot Girls Z had a PV out:
http://www.youtube.com/watch?v=7PwiM-KQScY
This is what we're getting instead, fertygo!!
http://www.youtube.com/watch?v=7PwiM-KQScY
This is what we're getting instead, fertygo!!
firehawk12
Subete no aware
It will transform into a jdrama by the last episode!BroCon 07
I feel like the opening sequence is trying out-shoujo itself every episode.
Victory Gundam 6
HOLY. SHIT.
I mean what the Hell? This is some REAL Gundam stuff here. Like, even Zeta at its most insane never did this. Stuff is just like some real dark stuff. Not quite Eva tier, dude would've had to have like, been mind raped by a celestial telephone disguised as his mom or something, but this stuff is dark and edgy.
Aside from that, Katejina continued to be the single worst woman in the show thus far, failing to even reach a gun because "violence and warfare is wrong and I am a pure virgin!" Or something. Meanwhile, Shakti's had enough of everyone's shit, but rather than leave that shrieking noise machine behind, she decided to take it home with her. I mean, damn, girl. You're already basically Yoshi carrying around Baby Mario, and this was your one hope of escape. But now you stuck with this thing till one or both of you die in a massive and tragic way.
Figured out why I love Ms. Marbet so: she looks like and reminds me of Eureka Seven's Hilda. Similar haircut and such. Mmmmmm, Hilda.
Anyway, Lt. Cronicle is like the nicest villain since Chara Soon, and keeps trying to be super knightly, but I just can't get passed his goofy mask. I mean, bro, why do you wear that thing? Y'ain't even blonde, bro.
HOLY. SHIT.
This guy KILLS both of his subordinates off in the absolutely most brutal way possible, and then when he finds out that Uso is a kid, he cries his fucking eyes out, and then blows himself up with a goddamn grenade.
Aside from that, Katejina continued to be the single worst woman in the show thus far, failing to even reach a gun because "violence and warfare is wrong and I am a pure virgin!" Or something. Meanwhile, Shakti's had enough of everyone's shit, but rather than leave that shrieking noise machine behind, she decided to take it home with her. I mean, damn, girl. You're already basically Yoshi carrying around Baby Mario, and this was your one hope of escape. But now you stuck with this thing till one or both of you die in a massive and tragic way.
Figured out why I love Ms. Marbet so: she looks like and reminds me of Eureka Seven's Hilda. Similar haircut and such. Mmmmmm, Hilda.
Anyway, Lt. Cronicle is like the nicest villain since Chara Soon, and keeps trying to be super knightly, but I just can't get passed his goofy mask. I mean, bro, why do you wear that thing? Y'ain't even blonde, bro.
Tears will be shed if TOEI troll us and make Imagawa directing one of episodes.
PdotMichael
Banned
Well, the official TOEI channel has the PV in way better quality.
And I'm still surprised that there is still no Gundam mecha musume anime. After all it was the Gundam franchise which invented the mecha musume genre (in the 80s).
Passive Assassin
Member
Mad Bull 34 Episode 3
This shootout scene has the best animation ever, hands down. What's up with this NTR? Jackie be cray. Oh god. CHINESE CHINESE. Oh fuck, Mad Bull just punched a motorcycle. What the hell. Kamikaze assassins? Daizaburo isn't the sharpest knife in the drawer apparently. Could've dodged the knife but jumped into it.
This shootout scene has the best animation ever, hands down. What's up with this NTR? Jackie be cray. Oh god. CHINESE CHINESE. Oh fuck, Mad Bull just punched a motorcycle. What the hell. Kamikaze assassins? Daizaburo isn't the sharpest knife in the drawer apparently. Could've dodged the knife but jumped into it.
Yeah, with all the Gundam Girls out there, it kinda surprises me to learn that Mazinger is the first to make this a show.
School Days 3
Every single thing that these people do makes me annoyed, vexed, or frustrated in a way I cannot accurately put into words. Like I just wanna grab 'em all by the shoulders and shake them and tell them to stop being such freaking putzes and get their heads together. Or something. Just, like, one, SO tired of Staring Girl. Like seriously, I don't like the quiet girl type anyway, but Staring Girl is as creepy as it gets and I am SO over that. Next up? Katsura. Like honestly, just fucking cry already you wuss. Either cry or get that fucking "I'm going to cry because you almost touched me" look off your fucking germophobic face. God, you terrible moe mope, is it so much to ask that at any point in a given episode you smile and don't make it look like you're trying to smile at a goddamn funeral for puppies?
And then there's the protagonist. Makoto is, I dunno, I can't describe why, but Itou just pisses me off.
And this episode there was a whole bunch of other girls who had the same face and just kept picking on Katsura and feeding her need to look like she's gonna cry and I don't know, but they were all soooooo dumb.
At first, I feared this show was going to be like watching and knowing a train was going to crash and not being able to turn it away. Now I actively await the train's coming, so I can see all of these people just blow up in some horrid way. All these people need to just implode in some grandiose fashion so I can feel better about all this noise. Gah, just wanna shake them all.
… and the entire ANN thread on the LWA Ticket sales thing.
e:
DmonHiro said:
ahahhahahahahhhaaaa
Corvy kun Im not gonna lie. I will enjoy the hell out of your impressions of School Days.
Nothing1016
Member
One of the greatest pieces of anime. Pure art. The upper echelons of entertainment. Definitely in my top ten anime ever. I can't wait to read the rest your impressions.
Passive Assassin
Member
Mad Bull 34 Episode 4
This turned pretty awkward fast... Holy shit did he really just do that? Oh man. This is just wrong. Mad Bull 34 is required viewing for everyone. This is too good. Too good!
This turned pretty awkward fast... Holy shit did he really just do that? Oh man. This is just wrong. Mad Bull 34 is required viewing for everyone. This is too good. Too good!
Hmmm...I think I might know what youre referring to. It was a pretty hairy situation in all fairness.
Passive Assassin
Member
Yeah it was pretty messed up. Now onto Dirty Pair OVA.
Theonik
Member
That's just Stockholm syndrome at play here.
HeartCatch is only good PreCure.
But Makoto is always the best.
The Chinese were really the best. I sure hope you watched it in English.
Also everyone knows that taking a knife is more heroic than dodging it.
R_thanatos
Member
i honnestly disagree.
Heartcatch is without a doubt the best , but splash star & smile are so good and worthy of a viewing session.
Dedication Through Light
Member
Naruto Shippuden Episode 325 Jinchuriki vs. Jinchuriki!
Naruto v Fourth Jinchuriki using his kekkaigenkai really made me have to not watch this in the dark, it got so bright but was pretty epic, especially with some Itachi in the flashback thrown there.
Ending
Naruto v Fourth Jinchuriki using his kekkaigenkai really made me have to not watch this in the dark, it got so bright but was pretty epic, especially with some Itachi in the flashback thrown there.
Ending
completely forgot Guy sensei and bushier brow sensei show up in this. I thought Masked Man made contact with Naruto and then broke free, guess I remembered canon wrong, so that was surprising
I havent seen much but Im inclined to agree as well based on what people have shown here.
I've become addicted to Hosoda's Digimon Adventure: Born of Koromon film. I think I have watched it like 5 times or more over the past few weeks, and all of them have been extremely satisfying. Re-discovering this little gem is one of the best anime things that happened to me this year.
It's a triumph of execution over concept, of audiovisual power over narrative, undoubtedly the major breakthrough in Hosoda's career as a director. But, most of all, it is a triumph of animation in commercial environments -a 20-minute pilot for a kids franchise is not the place you would expect to find something like this in.
There is no single theme towering over the film. If anything, it could be said that the main theme is the one carried by the tune, Ravel's Bolero. It is the only track employed in the film proper, and the piece is all about escalation. The dreamy, trance-like nature of the main melody punctuated by the ever constant drum-snare is translated into the language of film with a mastery that is mind-boggling for such an inexperienced director at the time. There are several sudden breaks in the music. It will then return at the most appropriate moments to accentuate the continuously unfolding events and moods, which go from whimsical to poignant. It compartmentalizes the film and at the same time makes it flow like few things can.
As for the story, there is no such thing. And it's the best possible decision. The things that happen don't even seem to have any consistency in and of themselves, yet just feel right. It's almost poetic in a way. Let the directing, animation and music speak to the viewer, the story is just a bundle.
That said, little undercurrents of reality in a very Hosoda-like fashion and the way events within the film pull riffs on each other (the whistle, the poop gag, even the constantly repeating layouts) demonstrate a tight scripting (by Reiko Yoshida, no less!)
There are several Hosoda characteristics, some still germinating, some as developed as you find them in Wolf Children. To give some examples:
The animation is absolutely wonderful. Playful, quirky, flowing, there is enormous nuance in almost every movement. Hikari dropping the whistle when taken by surprise, Taichi's subtle changing expression when he sees his sister on the computer, Koromon's bubbly squashy behaviour (black/pink form), the careful attention paid to the father's mannerisms while drunk -without even showing his face!-. There are tons and tons of little moments, and the grand battle at the end is the cherry on top of the cake.
The staff includes such talent as Hisashi Mori, Takaaki Yamashita, Koichi Arai, Hideki Hamasu, Masashi Ishihama and last but not least, the brilliant Mitsuo Iso. It's obvious which sequence he did, here's a clip. Not all of the video strikes me as him, as one commenter points out (the sakuga panel guy!) and the parts he remarks are very clearly a callback to his End of Evangelion sequence. It's not cheap at all, because the animation still carries the trademark weight of his style. I wish all brawls in anime were as good as this.
For some reason the video skips one part that felt distinctly like him, which was Taichi's growing desperation as the bird approached (you can see the end of that part roughly on 2:25 of that video). Does anyone know if that was confirmed to be someone else? The subtle camera movements and pose-less, flowing acting on a mix of 2s and 3s (with some weighty 4th frames thrown in) are extremely Iso-like to me. I'm highlighting that sequence because it's one of the best instances of character acting I have ever seen. It is comprised of subtle changes in expressions and manages to be extremely poignant due to the precise emoting. Hikari trying to blow the whistle and coughing is also great, although I'm not sure if that's Iso- Anipages says it's Hideki Hamasu for one.
This little film is simple, but its construction is filled with depth and nuance at every point, on every aspect. It's so expansive that I'm still not tired of it; in fact just typing this makes me want to go and watch it again (and I just finished it before starting to write!). It speaks volumes to Hosoda's talent as a director that this is only my second favourite thing by his, behind Wolf Children. I think I had said WC was his best work by a landslide when I watched it, but scrap the landslide part. This might as well be just as brilliant.
It's a triumph of execution over concept, of audiovisual power over narrative, undoubtedly the major breakthrough in Hosoda's career as a director. But, most of all, it is a triumph of animation in commercial environments -a 20-minute pilot for a kids franchise is not the place you would expect to find something like this in.
There is no single theme towering over the film. If anything, it could be said that the main theme is the one carried by the tune, Ravel's Bolero. It is the only track employed in the film proper, and the piece is all about escalation. The dreamy, trance-like nature of the main melody punctuated by the ever constant drum-snare is translated into the language of film with a mastery that is mind-boggling for such an inexperienced director at the time. There are several sudden breaks in the music. It will then return at the most appropriate moments to accentuate the continuously unfolding events and moods, which go from whimsical to poignant. It compartmentalizes the film and at the same time makes it flow like few things can.
As for the story, there is no such thing. And it's the best possible decision. The things that happen don't even seem to have any consistency in and of themselves, yet just feel right. It's almost poetic in a way. Let the directing, animation and music speak to the viewer, the story is just a bundle.
That said, little undercurrents of reality in a very Hosoda-like fashion and the way events within the film pull riffs on each other (the whistle, the poop gag, even the constantly repeating layouts) demonstrate a tight scripting (by Reiko Yoshida, no less!)
There are several Hosoda characteristics, some still germinating, some as developed as you find them in Wolf Children. To give some examples:
-Tidy, well-organized layouts. The first one is reused many times in the movie to build on that repetitive charm of the Bolero during the quiet parts. The second one conveys a lot of information in one shot and is extremely aesthetically pleasing.
- Use of a 3D space and the entire screen in single shots. The camera looking from above, giving an 'objective' view on fast action is used two more times, and objects moving below a surface where you can't see them is done once more. It again builds on repetition and escalation as a concept, with each successive use of this technique being more dynamic.
-Formal editing conveying simple ideas through cutting in an elegant way. The sequence starts with this shot, the characters situated on the very corners of the frame showing their distance as the scene builds up the antagonism between Taichi and our little Digiguy.
-Taichi gets thrown out and we're back under the bed, this time a close-up of Hikari with her whistle.
-Close-up of Koromon. A common shot/reverse shot. It goes right back to Hikari after that. We see she's excited, and after a few seconds she blows her whistle to confirm it, triggering another Koromon close-up where he responds with his bubbles. Instead of using the technique to stage dialogue, the back-and-forth interaction is between Hikari's whistle and Koromon's mimic bubbles. This goes on for some two times, after which Hikari laughs playfully seeing that the Digimon is delighted to play along.
-We go back to the initial frame, with the subtle change that Taichi is not there and the bubble/whistle action is still going on. After being shown Hikari and Koromon separately, they are brought together in the frame to punctuate their playful amicability. It's the same layout as above, but the takeaway is completely different thanks to what happened in between. Repeated layouts with little modifications that change their meaning are abound in the film.
The animation is absolutely wonderful. Playful, quirky, flowing, there is enormous nuance in almost every movement. Hikari dropping the whistle when taken by surprise, Taichi's subtle changing expression when he sees his sister on the computer, Koromon's bubbly squashy behaviour (black/pink form), the careful attention paid to the father's mannerisms while drunk -without even showing his face!-. There are tons and tons of little moments, and the grand battle at the end is the cherry on top of the cake.
The staff includes such talent as Hisashi Mori, Takaaki Yamashita, Koichi Arai, Hideki Hamasu, Masashi Ishihama and last but not least, the brilliant Mitsuo Iso. It's obvious which sequence he did, here's a clip. Not all of the video strikes me as him, as one commenter points out (the sakuga panel guy!) and the parts he remarks are very clearly a callback to his End of Evangelion sequence. It's not cheap at all, because the animation still carries the trademark weight of his style. I wish all brawls in anime were as good as this.
For some reason the video skips one part that felt distinctly like him, which was Taichi's growing desperation as the bird approached (you can see the end of that part roughly on 2:25 of that video). Does anyone know if that was confirmed to be someone else? The subtle camera movements and pose-less, flowing acting on a mix of 2s and 3s (with some weighty 4th frames thrown in) are extremely Iso-like to me. I'm highlighting that sequence because it's one of the best instances of character acting I have ever seen. It is comprised of subtle changes in expressions and manages to be extremely poignant due to the precise emoting. Hikari trying to blow the whistle and coughing is also great, although I'm not sure if that's Iso- Anipages says it's Hideki Hamasu for one.
This little film is simple, but its construction is filled with depth and nuance at every point, on every aspect. It's so expansive that I'm still not tired of it; in fact just typing this makes me want to go and watch it again (and I just finished it before starting to write!). It speaks volumes to Hosoda's talent as a director that this is only my second favourite thing by his, behind Wolf Children. I think I had said WC was his best work by a landslide when I watched it, but scrap the landslide part. This might as well be just as brilliant.
If there's one thing anime is good at, its teasing the shit out of the audience.
nintendoman58
Member
Oh. It's this show. The one that gave me....such pleasant dreams.
I remember thinking that the romance between Makoto and Katsura was kind of cute. Then everything else happened.
Regulus Tera
Romanes Eunt Domus
I wish Iso still had a career!
Better this than having him on the dreck that will be 4.44
I'm lying please come back Iso please
Regulus Tera
Romanes Eunt Domus
Some of those shots actually look lifted straight up from Evangelion episode two. Minus the giant dinosaur part.
Theonik
Member
Smile is a boring dumb show that doesn't live up to even the near non-existent potential it had.
But people who never win or quit, are just idiots.
PdotMichael
Banned
Mekaku City Days x Shaft x Shinbo
Regulus Tera
Romanes Eunt Domus
[Pretty Soldier Sailor Moon Sailor Stars] 186
Sailor Moon is a show that has never shied away from the random cartoonish type of comedy you'd find in productions like Looney Tunes, but this episode was like that times several orders of magnitude. It's almost reminiscent of the way Imaishi handles his material, with quick jumps and tons of deformation making for some great visual comedy. It turns out this is Masahiro Hosoda's directorial debut in the franchise, a... guy who admittedly I don't know much of, but whatever the case, his style shows through. Easily my favourite episode of Sailor Stars yet.
Thanks, Toei. I'm glad someone still cares!
Theonik
Member
Dead girls buy no toys.
RurouniZel
Asks questions so Ezalc doesn't have to
But March is a Pokemon.
That is so adorable! :3
Dedication Through Light
Member
Little Busters! Refrain PV
Felt so different from the first portion of the anime. Now my day feels all sad, my Riki.
Felt so different from the first portion of the anime. Now my day feels all sad, my Riki.
- Status