ZachDeKoromaru
Banned
There's no forgiving her after True Tears.
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Summer 2014 Anime |OT2| Or, where Jexhius finally watches more Doremi for Hito.
- Thread starter Narag
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I liked True Tears...
but that ending
And man, SAO hate's so strong here. Getting rather annoying.
Admiral Woofington
Member
lol she made true tears? I can now kind of see her schtick.
Massive melodrama.
Don't let it bother you imho. I've learned that not every anime I love is well received here (Black Lagoon, Psycho Pass). But to be fair I don't love SAO the same way as those two. I love it in the same group as Birdemic or The Room
ZachDeKoromaru
Banned
If it makes you feel better, True Tears is a much worse show than SAO.
It's why I normally talk about it elsewhere. Which I guess is a victory for gaf.
Most people on this forum, from my perception at least. I suppose I should have added that qualifier.
Even thats debatable given how it ranked in the animegaf poll. Wasn't it like #11 'best' anime for whatever year it was voted on?
Was it different? I never read the light novels but I always wanted to.
As I dropped the show and never read the books, just how different is the anime to the books? I would have thought they would be pretty close given it told the whole story.
they are a bit different, but nothing that serious (I just read the end) I don't recall what was different (her location for her reappearance was different), but I recall preferring the anime version.
Okay is an understatement after the masterpiece Kenichi Kasai left behind. Sometimes I wish it had stopped at S1.
Femmeworth
Banned
I don't think it directly has to do with her being a woman. Is her style of melodrama inherently feminine? And is it disproportionately shat on compared to masculine melodrama? That would be the more interesting line of questioning.
She showed up too late. By the time her character could've gotten more screentime, Kii had already taken over Magical Toy and Dream Academy needed to be fleshed out. Her role in the second season has a few moments of bigness (including some with Yurika), but not a whole lot more.
True, things do seem to be slightly better here. It's mostly just memories of the last anime forum I was at and how harsh it could get at times.
HeartCatch Precure 6
Blossom shines yet again in this weeks fight. Although that's only because Erika took a blow that made her unable to fight for the second half. That being said, Blossom won due to her finding out that heart seeds can be used for battle. Red specifically, allows you to move extremely fast. Oh, and watch out for her signature "Blossom Butt Punch!"
Oh joy, gotta love the whole "I don't want to spoil anything to soon," factor. It's interesting though that it's perfectly fine yo be seen in that form. It's just that if someone connected the dots for whatever reason, something will happen.
Blossom shines yet again in this weeks fight. Although that's only because Erika took a blow that made her unable to fight for the second half. That being said, Blossom won due to her finding out that heart seeds can be used for battle. Red specifically, allows you to move extremely fast. Oh, and watch out for her signature "Blossom Butt Punch!"
santeesioux
Member
I haven't watched it in over ten years, so maybe it isn't good, but i remember it being good at the time, lol.
Doctor Decimate
Member
Admiral Woofington
Member
All of them.
Well..are there any male writers known for relationship drama/melodrama? I'll admit I'd assume most writers of those are actually female and coming from the shojo side of things. But I imagine thats just pre-conceived bias that its girls writing romances and guys writing action stuff.
Admiral Woofington
Member
Who's directing/animating the next episode of Space Dandy? Just saw a preview and it looked absolutely gorgeous
Maeda Jun is the ur-example among male writers, although technically he writes VNs. Several have simply happened to receive high-profile anime adaptations.
That's not spoiling anything in the series, it's a preview for the All Stars movie that came out in theaters around that time. You'll see it again for the series movie later on. It's a thing that Toei does, Sentai and Rider get it too.
Giovanni's Island
I liked this quite a lot. I think part of it is that I really didn't know what to expect from the movie given the premise, and that lack of expectation allowed me to enjoy the movie for what it was more. What grabbed my attention the most was how original the setting was. One of the things many films lack is having something of its own to actually say. The story itself is fairly traditional as far as films about children impacted by war and conflict go, but the unique setting based on Japanese islanders who had to experience displacement due to Russia annexing their territories after the second World War provides enough original flavor into the film to make it stand on its own.
Visually there's a lot to like about the film too, both from a design and art standpoint, as well as the way animation is handled. The movie is fairly stylized, and employs creative direction in the narrative. The story is told as a recollection of an old man's childhood memories, and those memories are colored by a sense of innocence and naivety, and a strong influence from his love of Night on the Galactic Railroad. The themes of the book mirror the core theme of the film itself - a boy who deals with loss and understanding death through escapism and fantasy. I think some of it was maybe a little heavy handed, but worked for the most part.
The use of odd perspectives and looser character designs with frequent cartoon-ish poses and expressions from the characters does the film a lot of favors in terms of expressing how children retain a sense of wonder at bad thing happening when they're not fully aware of the rationale and consequences behind it all. Some of it reminded me a lot of Life is Beautiful, especially in how their uncle acts around them, and the little things he does out of consideration that children don't need to really understand what is going on. The way he was animated at times reminded me of Lupin the Third too, and it enhanced the feeling that he was basically playing a role for their benefit.
Another thing I noticed which might not be entirely intentional is that when the film moved beyond the island itself, the art direction seemed to take on a less stylized look. Buildings seemed more realistic, the forest looked extra detailed, and there was less of those idiosyncratic perspectives. It seemed to fit the tone that the protagonist was increasingly getting an understanding of the real world, but it could also have just been an artistic choice because those backdrops looked better with more detail. Regardless of intent, it was something which I think added an interesting dimension to the flow.
By the end though, the story was fairly predictable, especially the entire final act. It certainly felt like it heavily borrowed emotional checklists from many films of this sort. I didn't mind that much except for the fact that it was hard to feel emotional about stuff which was so clearly manufactured. It wasn't a huge deal for me, but Shergal mentioned that it bothered him a lot more. The first half of the film had some really great emotional moments which totally felt earned though. My favorite would have to be the scene where the kids started singing in Russian, followed by the other classroom singing back in Japanese before they started playing tag. Probably the strongest scene in the entire film and it underlines the emotional conflict without actually having to say anything out directly. Beautifully executed. Another great scene was the sketchbook art coming to life in animation. Moments like that really made the entire film feel worthwhile.
While the credits were rolling, another thing that caught my attention was how they actually have separate ADR crews and casting for the Russian characters and the Korean characters. It definitely added a layer of authenticity to the film, especially given the cultural subject matter. It's pretty cool that they got an actual children's choir to sing in Russian too. I always appreciate the extra effort taken when it comes to having proper languages used in a film. Now if only Watanabe could have done that for Terror in Resonance...
I liked this quite a lot. I think part of it is that I really didn't know what to expect from the movie given the premise, and that lack of expectation allowed me to enjoy the movie for what it was more. What grabbed my attention the most was how original the setting was. One of the things many films lack is having something of its own to actually say. The story itself is fairly traditional as far as films about children impacted by war and conflict go, but the unique setting based on Japanese islanders who had to experience displacement due to Russia annexing their territories after the second World War provides enough original flavor into the film to make it stand on its own.
Visually there's a lot to like about the film too, both from a design and art standpoint, as well as the way animation is handled. The movie is fairly stylized, and employs creative direction in the narrative. The story is told as a recollection of an old man's childhood memories, and those memories are colored by a sense of innocence and naivety, and a strong influence from his love of Night on the Galactic Railroad. The themes of the book mirror the core theme of the film itself - a boy who deals with loss and understanding death through escapism and fantasy. I think some of it was maybe a little heavy handed, but worked for the most part.
The use of odd perspectives and looser character designs with frequent cartoon-ish poses and expressions from the characters does the film a lot of favors in terms of expressing how children retain a sense of wonder at bad thing happening when they're not fully aware of the rationale and consequences behind it all. Some of it reminded me a lot of Life is Beautiful, especially in how their uncle acts around them, and the little things he does out of consideration that children don't need to really understand what is going on. The way he was animated at times reminded me of Lupin the Third too, and it enhanced the feeling that he was basically playing a role for their benefit.
Another thing I noticed which might not be entirely intentional is that when the film moved beyond the island itself, the art direction seemed to take on a less stylized look. Buildings seemed more realistic, the forest looked extra detailed, and there was less of those idiosyncratic perspectives. It seemed to fit the tone that the protagonist was increasingly getting an understanding of the real world, but it could also have just been an artistic choice because those backdrops looked better with more detail. Regardless of intent, it was something which I think added an interesting dimension to the flow.
By the end though, the story was fairly predictable, especially the entire final act. It certainly felt like it heavily borrowed emotional checklists from many films of this sort. I didn't mind that much except for the fact that it was hard to feel emotional about stuff which was so clearly manufactured. It wasn't a huge deal for me, but Shergal mentioned that it bothered him a lot more. The first half of the film had some really great emotional moments which totally felt earned though. My favorite would have to be the scene where the kids started singing in Russian, followed by the other classroom singing back in Japanese before they started playing tag. Probably the strongest scene in the entire film and it underlines the emotional conflict without actually having to say anything out directly. Beautifully executed. Another great scene was the sketchbook art coming to life in animation. Moments like that really made the entire film feel worthwhile.
While the credits were rolling, another thing that caught my attention was how they actually have separate ADR crews and casting for the Russian characters and the Korean characters. It definitely added a layer of authenticity to the film, especially given the cultural subject matter. It's pretty cool that they got an actual children's choir to sing in Russian too. I always appreciate the extra effort taken when it comes to having proper languages used in a film. Now if only Watanabe could have done that for Terror in Resonance...
Femmeworth
Banned
I'm less interested in specific writers than the actual style of the writing.
*adds to reading list*
Since you are one of the more well read people around here, can you recommend me a book on storytelling in film/television?
Ah okay. That makes a feel a bit better. It just felt too weird to have what looked like actual scenes in place for the OP instead of the usual.
lol No wonder I loved S1 so much more.
I take it he does not write the screenplays/scripts for the key based animes?
Though I guess it counts given the amount of key-hate you see around.
The bolded part went such a long way in differentiating this film's style from other similar ones. I really loved how animated the uncle was and how well that juxtaposition worked when pressed against his brother. The most memorable scene for me wasGiovanni's Island
I liked this quite a lot. I think part of it is that I really didn't know what to expect from the movie given the premise, and that lack of expectation allowed me to enjoy the movie for what it was more. What grabbed my attention the most was how original the setting was. One of the things many films lack is having something of its own to actually say. The story itself is fairly traditional as far as films about children impacted by war and conflict go, but the unique setting based on Japanese islanders who had to experience displacement due to Russia annexing their territories after the second World War provides enough original flavor into the film to make it stand on its own.
Visually there's a lot to like about the film too, both from a design and art standpoint, as well as the way animation is handled. The movie is fairly stylized, and employs creative direction in the narrative. The story is told as a recollection of an old man's childhood memories, and those memories are colored by a sense of innocence and naivety, and a strong influence from his love of Night on the Galactic Railroad. The themes of the book mirror the core theme of the film itself - a boy who deals with loss and understanding death through escapism and fantasy. I think some of it was maybe a little heavy handed, but worked for the most part.
The use of odd perspectives and looser character designs with frequent cartoon-ish poses and expressions from the characters does the film a lot of favors in terms of expressing how children retain a sense of wonder at bad thing happening when they're not fully aware of the rationale and consequences behind it all. Some of it reminded me a lot of Life is Beautiful, especially in how their uncle acts around them, and the little things he does out of consideration that children don't need to really understand what is going on. The way he was animated at times reminded me of Lupin the Third too, and it enhanced the feeling that he was basically playing a role for their benefit.
Another thing I noticed which might not be entirely intentional is that when the film moved beyond the island itself, the art direction seemed to take on a less stylized look. Buildings seemed more realistic, the forest looked extra detailed, and there was less of those idiosyncratic perspectives. It seemed to fit the tone that the protagonist was increasingly getting an understanding of the real world, but it could also have just been an artistic choice because those backdrops looked better with more detail. Regardless of intent, it was something which I think added an interesting dimension to the flow.
By the end though, the story was fairly predictable, especially the entire final act. It certainly felt like it heavily borrowed emotional checklists from many films of this sort. I didn't mind that much except for the fact that it was hard to feel emotional about stuff which was so clearly manufactured. It wasn't a huge deal for me, but Shergal mentioned that it bothered him a lot more. The first half of the film had some really great emotional moments which totally felt earned though. My favorite would have to be the scene where the kids started singing in Russian, followed by the other classroom singing back in Japanese before they started playing tag. Probably the strongest scene in the entire film and it underlines the emotional conflict without actually having to say anything out directly. Beautifully executed. Another great scene was the sketchbook art coming to life in animation. Moments like that really made the entire film feel worthwhile.
While the credits were rolling, another thing that caught my attention was how they actually have separate ADR crews and casting for the Russian characters and the Korean characters. It definitely added a layer of authenticity to the film, especially given the cultural subject matter. It's pretty cool that they got an actual children's choir to sing in Russian too. I always appreciate the extra effort taken when it comes to having proper languages used in a film. Now if only Watanabe could have done that for Terror in Resonance...
the children reuniting with their father through the barbed wire fence.
AquaWateria
Member
Hmmm I wonder if the Vagabond manga will ever get an anime adaption. It needs to happen.
You watched it dubbed? What was it like? Did they retain the Russian and Korean? Or was everything just dubbed into English? This seems like the sort of film which would lose something by being dubbed given how it's about a very specific clash of culture.
KuwabaraTheMan
Banned
The shitstain known as Ano Hi Mita Hana no Namae wo Bokutachi wa Mada Shiranai probably did it for most people. Then that was followed up with other all time classics like Black Rock Shooter and Lupin the 3rd: The Woman Called Fujiko Mine, and most people just accepted that the majority of what Okada wrote was always going to be crap (unless Ando was reigning her in).
And that's the exact kind of phrasing that made me bring up this question in the first place.
Femmeworth
Banned
But then EviLore might post in here. Do you want that? Do you want that?
That phrasing is gender neutral to me. You can argue about the intent behind the words, though.
KuwabaraTheMan
Banned
Well, as far as my phrasing there, I just think it's a pretty stark contrast between Hanasaku Iroha, which is mostly very nuanced and down to earth with genuine feeling characters and drama, compared to a lot of Okada's other works which are quite ridiculous with their melodrama, and have very rote characters and situations. The only real difference I can see is the presence of Ando, so I assume he had a hand in keeping things from getting crazy and melodramatic.
firehawk12
Subete no aware
The only film book you need is David Bordwell's Narration and the Fiction Film really. Anything newer basically cites this book.
That said, BFI publishes monographs for specific films that might be interesting if you want longer takes on specific films.
I'd rather see LIFE be adapted, but Vagabond is probably further along.
Aikatsu! 73
I was thinking Otome was planning something super secret but no, she was actually planning not to go on stage as if that wouldn't fuck everything up.
Dammit, I wanted to see Kaede's live tuna dissection. And did the four of them just sing the same song that the DreAca girls sang at their festival? How didn't they lose based on that alone? I realize songs get repeated a lot in this show, but if your competing for best festival, don't do the same song they just sang yesterday. Also new idol unit that lacks Kaede.
What's with all this graduation talk? I'm pretty sure this school has a high school division that was mentioned last season.
I was thinking Otome was planning something super secret but no, she was actually planning not to go on stage as if that wouldn't fuck everything up.
Dammit, I wanted to see Kaede's live tuna dissection. And did the four of them just sing the same song that the DreAca girls sang at their festival? How didn't they lose based on that alone? I realize songs get repeated a lot in this show, but if your competing for best festival, don't do the same song they just sang yesterday. Also new idol unit that lacks Kaede.
What's with all this graduation talk? I'm pretty sure this school has a high school division that was mentioned last season.
Femmeworth
Banned
It's interesting no one ever brings up Black Rock Shooter (TV)'s director, Shinobu Yoshioka. Not drawing any conclusions from that, just bringing it up.
I'll look into that, thanks.
firehawk12
Subete no aware
At this point I assume everyone is fucking a sibling on that show?
Femmeworth
Banned
Probably waiting for the second season to finish it all up in one burst. Rip the band-aid off quickly, so to speak.
Doctor Decimate
Member
aw, was that one bad? that's disappointing.
More like a Brazilian wax from the way he made it sound.
AquaWateria
Member
But wouldn't you want a Vagabond anime adaption. Like if so many shitty harem and fanservice manga's get an adaptation why can't Vagabond. AnimeGaf needs a great historical samurai seinen anime. It would be so worth it that I wouldn't care.
KuwabaraTheMan
Banned
R_thanatos
Member
You have no soul , she is not the best girl , but she certainly isn't the worst.
Same here , i'm tired of this. it's very obvious who is watching it in the predetermined mindset of talking shit about it.
It's a good show with a high amount of despair.
And tears
No.that sub plot is mostly over now
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