It's certainly a red flag in retrospect. Kind of weird to think audiences would buy a detail like that in the post-9/11 world.
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Summer 2014 Anime |OT2| Or, where Jexhius finally watches more Doremi for Hito.
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It's certainly a red flag in retrospect. Kind of weird to think audiences would buy a detail like that in the post-9/11 world.
Does it work in some cases? Sure. But the fact that they consistently have bad background art and compositing even in cases where it would be better not to, and their constant revisionism of backdrops for subsequent releases, shows that the times where it works are more happy accidents than a particularly meaningful artistic movement. And former SHAFT disciples like Hatakeyama prove that poor background work is in no way precludes stylistic, symbolic direction.
Jex
Member
While we're on the subject of Terror in Tokyo I'd like to highlight one area that it succeeds in spectacularly: lighting.
Terror in Tokyo is a series that attempts to ape Hollywood drama and narrative from a storytelling perspective, as we've discussed above, but it also attempts to look 'cinematic'. To achieve this end one of the key tools they used was dramatic lighting. Lighting is commonly used not only to make images appear more attractive aesthetically but also to generate additional meaning through the play of light and dark.
Most regular TV anime doesn't fuss around too much with lighting and a result most shows look very uniform and flat because everything in a shot is lit to the same degree. Terror in Tokyo, on the other hand, uses lighting to sharply delineate characters, backgrounds, character intent and mood.
As an example of a scene setting shot, consider this image:
They chose to shoot a fairly dull object, a traffic light, from below to make the image more unique. This choice of angle also illustrates the time of the day and the weather. Combines with other shots later on you can really feel the heat of summer, which is in sharp contrast to cold snow of the opening prologue. The traffic light in this shot is further emphasised because the only source of lighting in the shot is natural e.g. the sun whose rays only highlight the edges of the traffic light, making them shine and stand out against the sky.
What's wrong with this image? The lighting doesn't make any sense! As you can again the only 'source' light in this image is the natural light of the sun which is behind Nine once again picking out the details on the edge of his body. His body and face are far darker because he's not being lit from the front. So how are how glasses so brightly lit?
The answer, of course, is that this is a POV shot from Lisa. As it's through her eyes we're not entirely looking at reality, her viewpoint is subjective and as such the reality she witnesses in this image is exaggerated to the point where his cool blue eyes shine out of the dark. This tells us something about Lisa's impression of Nine.
This shot is fairly self-explanatory. The key light is hitting Nine and Twelve from the right, obscuring the left-hand side of Nine's face. This makes his face appear more 'dramatic' and it implies duality (e.g. having two distinct natures), it's often used to shoot characters who are hiding something of have some secret. In the case of Nine it's pretty simple, he appears to be a schoolboy but in reality he's a terrorist. These two sides of his person are shown by the lighting in this shot. See also: any scene with a character looking in a mirror, especially if the mirror is cracked or broken.
Terror in Tokyo is an extremely dark show on a visual level. On one hand this clearly relates to the seriousness of the subject matter, but it also suggest hidden meaning and obfuscation because the audience is constantly being deprived of information both from a storytelling/character sense but also a visual sense. We don't know what's going on and we can't see what's going on either.
Of course, it also makes the images themselves more interesting to look at and it makes the show look more realistic because there's such a variety in the lightning conditions that it more closely resembles are own experiences than a show featuring flat lightning.
Still, as I've demonstrated above it's not just purely for style. There's usually a meaning behind it as well, such as the lightning in Lisa's home:
Her mother is shot like some kind of villain, with her face obscured in shadow she feels more intimidating and inhuman then she would if she was shot in a traditional style.
Crushed blacks aside, Lisa's room is not as welcoming or warm as you'd traditionally in any story. Her room is dark, unpleasant and perhaps even a little scary. It suggests she doesn't even have a peaceful, comfortable sanctuary in her own room, let alone her lone house. There is no place for her here.
At other times, however, I'll admit the show just wants to look cool. Sure, you usually turn the lights low presentations but it takes to an exaggerated, cinematic level in this series whenever we get a police meeting.
Terror in Tokyo is a series that attempts to ape Hollywood drama and narrative from a storytelling perspective, as we've discussed above, but it also attempts to look 'cinematic'. To achieve this end one of the key tools they used was dramatic lighting. Lighting is commonly used not only to make images appear more attractive aesthetically but also to generate additional meaning through the play of light and dark.
Most regular TV anime doesn't fuss around too much with lighting and a result most shows look very uniform and flat because everything in a shot is lit to the same degree. Terror in Tokyo, on the other hand, uses lighting to sharply delineate characters, backgrounds, character intent and mood.
As an example of a scene setting shot, consider this image:
They chose to shoot a fairly dull object, a traffic light, from below to make the image more unique. This choice of angle also illustrates the time of the day and the weather. Combines with other shots later on you can really feel the heat of summer, which is in sharp contrast to cold snow of the opening prologue. The traffic light in this shot is further emphasised because the only source of lighting in the shot is natural e.g. the sun whose rays only highlight the edges of the traffic light, making them shine and stand out against the sky.
What's wrong with this image? The lighting doesn't make any sense! As you can again the only 'source' light in this image is the natural light of the sun which is behind Nine once again picking out the details on the edge of his body. His body and face are far darker because he's not being lit from the front. So how are how glasses so brightly lit?
The answer, of course, is that this is a POV shot from Lisa. As it's through her eyes we're not entirely looking at reality, her viewpoint is subjective and as such the reality she witnesses in this image is exaggerated to the point where his cool blue eyes shine out of the dark. This tells us something about Lisa's impression of Nine.
This shot is fairly self-explanatory. The key light is hitting Nine and Twelve from the right, obscuring the left-hand side of Nine's face. This makes his face appear more 'dramatic' and it implies duality (e.g. having two distinct natures), it's often used to shoot characters who are hiding something of have some secret. In the case of Nine it's pretty simple, he appears to be a schoolboy but in reality he's a terrorist. These two sides of his person are shown by the lighting in this shot. See also: any scene with a character looking in a mirror, especially if the mirror is cracked or broken.
Terror in Tokyo is an extremely dark show on a visual level. On one hand this clearly relates to the seriousness of the subject matter, but it also suggest hidden meaning and obfuscation because the audience is constantly being deprived of information both from a storytelling/character sense but also a visual sense. We don't know what's going on and we can't see what's going on either.
Of course, it also makes the images themselves more interesting to look at and it makes the show look more realistic because there's such a variety in the lightning conditions that it more closely resembles are own experiences than a show featuring flat lightning.
Still, as I've demonstrated above it's not just purely for style. There's usually a meaning behind it as well, such as the lightning in Lisa's home:
Her mother is shot like some kind of villain, with her face obscured in shadow she feels more intimidating and inhuman then she would if she was shot in a traditional style.
Crushed blacks aside, Lisa's room is not as welcoming or warm as you'd traditionally in any story. Her room is dark, unpleasant and perhaps even a little scary. It suggests she doesn't even have a peaceful, comfortable sanctuary in her own room, let alone her lone house. There is no place for her here.
At other times, however, I'll admit the show just wants to look cool. Sure, you usually turn the lights low presentations but it takes to an exaggerated, cinematic level in this series whenever we get a police meeting.
Terror in Resonance is much closer to Japanese TV Detective drama than Hollywood cinema IMO, especially for its structure. Despite what the staff might said.
Btw I don't think the lack of backstory is a killer in TiR, we pretty much already telegraphed the whole of it at this point.. I do agree despite that the writing seem hiding the whole motivation thing, its make the conservation between the number awkward as hell with the reluctance in the dialogue to cover that ground.
Btw I don't think the lack of backstory is a killer in TiR, we pretty much already telegraphed the whole of it at this point.. I do agree despite that the writing seem hiding the whole motivation thing, its make the conservation between the number awkward as hell with the reluctance in the dialogue to cover that ground.
firehawk12
Subete no aware
To be fair, they may tweak their backgrounds, but they don't change any shots... so at least composition and framing is usually as intended. At least, I'd hope so. lol
I guess I find the average anime background to be kind of dull anyway, so doing anything to make it pop and serve the characters works for me. But again, it helps that for the most part, Shaft don't adapt slice of life comedies and whatnot. Everything they do involves the supernatural or magic realism or surrealism, even Nisekoi with the dude's 60 girlfriends from alternate dimensions.
tokyo 9/11 7
yeah this was a pretty good follow up to last week all things considered. though i do think it kinda feels like this show'll need an extra episode or so than the standard 11 we'll get from noitamina.
oh and i really don't get the "no character motivation" complaints as it's so easy to fill in the blanks with what the shows given the audience that even your average mal forum poster could piece it together
i'd much rather the approach taken over needless exposition dumps
yeah this was a pretty good follow up to last week all things considered. though i do think it kinda feels like this show'll need an extra episode or so than the standard 11 we'll get from noitamina.
oh and i really don't get the "no character motivation" complaints as it's so easy to fill in the blanks with what the shows given the audience that even your average mal forum poster could piece it together
i'd much rather the approach taken over needless exposition dumps
I'd say it's more half-and-half on their works, if a cursory glance is any indicator.
Nothing1016
Member
Chaika 3-8
This show is about as entertaining as pop rocks. Sigh. I guess ill watch to completion.
Glasslip - 08
I don't know how this is going to end but it better be either awful or mind-blowing.
Rail Wars - 08
This isn't good. Plus I don't like the idol chick.
Tokyo Ghoul - 08
Pretty entertaining stuff. Just want to see him go berserk for once though.
This show is about as entertaining as pop rocks. Sigh. I guess ill watch to completion.
Glasslip - 08
I don't know how this is going to end but it better be either awful or mind-blowing.
Rail Wars - 08
This isn't good. Plus I don't like the idol chick.
Tokyo Ghoul - 08
Pretty entertaining stuff. Just want to see him go berserk for once though.
Definitely agree, they may botched the execution at some level.. but the idea itself isn't totally flawed.
Jex
Member
Firstly, there are plenty of occasions where the background is changed substantially, or even switched out for a completely different location. Just look at any of their BD/TV comparisons. This changes the mood, and occasionally, even the meaning of those shots (e.g. Maimi's room in Madoka). Sometimes they do a fine job establishing tone and mood with their backgrounds, but at other times it just looks like a cheap cop-out.
Whether or not other anime do a job with their backgrounds is, I think, irrelevant. Backgrounds are vital in establishing setting, mood and tone. They also tell us about the story and the characters depicted in it. They form a substantial part of many shots and therefore are a great details of the mise-en-scene in any given frame. They also draw the viewer into a scene, and into a world, and make us feel like we're wrapped up in the what's going on. To quote Oshii:
"For the longest time, backgrounds in animation were nothing more than something to fill the space behind the characters. Inside the house, there are walls and tatami mats on the floor, and if you go outside, if there are drainpipes, it would be an open lot. That was all there was to it. But in my projects, that's not how it works. The background and the characters have to be even. You have to take it as far as making the character a part of the background, or you're not really depicting a world."
When SHAFT chop and change their backgrounds (sometimes multiple times in the case of all the Madoka releases) it just shows they fail to understand this aspect of their craft fully.
I think the main motivation was fairly obvious from the reveal trailer. I don't think anyone's really arguing that there isn't a motivation, it's just that it hasn't lined up with their actions in a way that makes them sympathetic or even interesting.
Femmeworth
Banned
Mahou Shoujo Madoka★Magica Movie 1: Hajimari no Monogatari
Despite some of the changes/improvements to the visuals and animation, I think it's better to just watch the television series. Going in, I thought this movie covered the first six episodes but it actually covered the first eight. No wonder the pacing felt off, particularly everything prior to
Perhaps one day a fan will edit the new/redrawn scenes into the television series, if SHAFT doesn't do it themselves. While this is certainly a better attempt at a recap movie than most other efforts, I'm not sure if I would recommend people watch this. I'm still going to watch the second recap movie, because I might as well at this point.
Despite some of the changes/improvements to the visuals and animation, I think it's better to just watch the television series. Going in, I thought this movie covered the first six episodes but it actually covered the first eight. No wonder the pacing felt off, particularly everything prior to
Mami's death.
Movie 1 and 2 have no new footage. Its literally just repackaging the series into movies.
There is a little bit of new footage, actually (and a bunch of retakes).
Femmeworth
Banned
That's not true, some of the transformations are brand new. The OP is brand new as well. While other scenes have varying degrees of changes. You're right in that there isn't any new narrative content, as far as I know.
I find it pretty hard to not be sympathetic to two completely broken people whom were brutalised as kids in a horrific training camp and the twisted (and incredibly effectivegoing by Shibazaki's reactions) actions they take to uncover it. The whole thing fits in perfectly with Blowback theory and the reactive nature of terrorism in the 21st Century.
Awful Falafel
Banned
This actually already exists. I never actually watched it myself because I sort of wrote it off as something some bored people did while waiting for the third movie but I can see the appeal if you're chasing some perfect idealized rendition of the series. I'd link it but you know rules are rules.
Thats what I meant basically. It isnt anything new to the narrative. Same story told much the same way with prettier visuals. Its not like the third movie which was a wildly different direction that they took the story.
Femmeworth
Banned
Huh. Maybe I should have just watched that instead. :\ (Assuming they didn't fuck anything up.)
NeonZ
Member
It used to be true for most of them in the 80s and 90s when OVAs were mostly completely standalone high profile releases.
Nowadays, most OVAs seem to be just manga volume pack ins or tv show Blu-Ray extras, and in those cases the animation often is on par or even worse than an average tv episode.
hosannainexcelsis
Member
Somewhere Mandoric is crying right now.
I didn't have too much of a problem following them through the first episodes of the series, where the hints of their motivations were enough. But with the way the tables have turned since episode 5, there have to be more explanations why they're willing to go far enough to blow up government buildings, but they're not willing to allow any lives to be lost, no matter the cost or the risk. Or why all these silly games need to be played. Basically, why they have to go about their plan in this circuitous manner, rather than another method.
If monogatari is considered crappy writing SAO would be literally monkeys smashing their hrads into keyboards.
Though nise is pretty questionable
Using the worst thing you can think of as a point of comparison doesn't provide very convincing evidence that something else is worthwhile.
I guess you don't read quoted text. That's ok.
PdotMichael
Banned
Well, the entire Monogatari Second Season was basically the opposite of SAO.
So providing a little bit more than "that shit" would be nice.
So providing a little bit more than "that shit" would be nice.
AquaWateria
Member
blessedbrian
Neo Member
OH HEY, TWO CENTS
/throw
I like most of the Monogatari series, but for me Nisemonogatari was a very bold trip down Stupid Bullshit Lane with more pointless nonsense than usual.
Monogatari Second Season was a rip-roaring return to form, though, which is why I'm really eager to check out Hanamonogatari!
/throw
I like most of the Monogatari series, but for me Nisemonogatari was a very bold trip down Stupid Bullshit Lane with more pointless nonsense than usual.
Monogatari Second Season was a rip-roaring return to form, though, which is why I'm really eager to check out Hanamonogatari!
phoenix296
Member
I want to watch Hanamonogatari to see what the hubbub is about but Crunchyroll sure is taking their sweet time. Kotaku posted their review of it if anyone wants a laugh.
It went up on Daisuki last night.
AquaWateria
Member
In Fate/Zero what order would you put the Servants in, from great to not so great. Just wanting to know people's opinions.
MikeHattsu
Member
Looks nice though!
AquaWateria
Member
The wait for Kizumonogatari has been too long, too long!
Jex
Member
There are definetenly areas where I think the Monogatari stories could me told with more efficiency, to trim the fat as it were. Considering how many the stories interlock, however, raises difficult questions about where and how to 'trim' content, so I certainly wouldn't know where to start.
I only watched S1.
Shaft backgrounds are admittedly very very simple a lot of times, however when a show calls for a more complex background, they are up to task. I actually think they prefer the super simplistic backgrounds in favor of making the characters pop more. Shaft never has trouble making its characters stand out.
I just wanna say that I really do appreciate these observations. they are beyond my way of observing anime and media and I often overlook these subtleties in cinema. When you point them out Im like oooh ok and it makes me notice a bit more about what certain directors are trying to accomplish.
Have you ever done one of these with Millennium Actress? It was probably long ago and I just cant remember.
Fate/Zero 3
Harsh.
Bill Clinton is in an anime. Huh.
I'm beginning to like Saber. She seems to have some depth to her.
Saber does in fact have plenty of depth to her but FSN fought against that and tried to make her a harembitch. Fate Zero also hamstrung her with
that injury to her arm
Rider > Archer > Saber > Lancer > Caster > Berserker > Assassin
Nah. Such a thing is not possible!
Very nice post, but it's worth pointing out that the crushed blacks are due to Funimation's abysmal video encoding.
I don't mind that part. The problem is the writer botched it by trying to make them even further sympathetic with the "don't worry guys even though they're terrorists they're actually trying really hard not to kill anyone!" Which both doesn't make sense/isn't believable and lessens the moral complexity of the show, because you're no longer trying to show our own moral culpability for terrorism, instead you're trying to show how we accidentally created superpowered antiheroes, which is not exactly a real thing.
blessedbrian
Neo Member
Oh, no doubt. I'm not going to pretend to be an expert in writing and make suggestions as to how I would have made it better, because the way the Monogatari series has been doing it has always been a matter of taste. For me my problems with Monogatari have usually occurred when the fanservice is no longer simply a device that frames character development, and exists in an episode just because.
Speaking of, just finished watching Hanamonogatari. It's... pretty good. Definitely one of the slower segments out of all so far (similar to some stretches of Nekomonogatari), but Kanbaru is da bes and it's fun seeing Kaiki Deshuu show up. I strongly object to seeing Kanbaru being outrun! But whoops there goes my opinions.
Numachi Rouka is an interesting character I would like to see being explored a little more later (that ED describes her relationship with Kanbaru more elegantly than the bajillion lines of dialogue do, I think). WHAT A TWEEST, THOUGH.
Araragi ramping up the imouto bullshit doesn't do any favours for the series, but as long as it doesn't take up entire episodes and waste time like it did in Kizu, I'm okay with it. His new look is kind of goofy, though.
Seriously though who is that creepy-ass motherfucker on the bike? Everything she says sounds like a straight-up bullshit setup for something bad to happen. And so far, usually is!
InfiniteNine
Rolling Girl
Need to get the green ranger so he can blow his dagger whistle and summon the dragonzord.
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