SliceSabre
Banned
People not watching Dandelion are missing out.
-
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 Anime 2015 |OT| SharingMana
- Thread starter TUSR
- Start date
- Status
People not watching Dandelion are missing out.
MetroidPrimeRib
Banned
The only show I'm watching on this list is #10...
Is this about Cobra? Gotta admit it looks pretty cool
What the fuck?! What's happening here!? I thought we would get happy episodes from now on...Should have known better cause well Key.
Joe Molotov
Member
AniTrendz sounds like a credible source, do they offer sales data as well?
It is cool, very cool.
Cornbread78
Member
That second group of kids grabbed her and took her to the scientists....Sounds like the rumors were true...
names2hard4you
Member
Just received my wristband for Fan Expo here in Toronto. Super stocked. I barely ever buy anime mercy throughout the year, but when I am there, I go off. My money situation isn't so great this year, due to countless misfortunes but I am hoping for my last pay check before the event in two weeks to be a good one.
Toradora 14-25 [fin]
So this half is notorious for being drama heavy especially in comparison to the first cour and is more in line with Okada's 'tastes'. The underlying emotions behind many of these relationships start to fester around episode 14 and repeatedly blow up in a character's face. Often times, an individual will be told a hard truth in the most direct and harsh manner possible resulting in tears or fists. I wasn't joking when I said that the anime could be titled, Getting Called Out: The Show. The only one who skated by was Ryuuji in the conclusion for the final arc, as I think he deserved to get shit on more than he did. Asshole made Yasuko cry.
soon.jpg
The second half is broken down into four clear separate arcs: the School President, Christmas, Ski Trip, and Valentine's Day. I found it interesting in that all of them have their own distinguishing theme even when addressing the romantic foibles of particular characters. For example with the School President arc, the show delved into the concept of perception. It's no coincidence that the first episode in this arc was all about pictures. While this arc was all about Kitamura trying to get across to Sumire, it was also about expectations and the weight that can have on a person. It demonstrated that the reason Ami is in love with Ryuuji is the fact that he understands her and sees who she is, not who she keeps trying to be. He treats her like an equal instead of some famous celebrity that everybody gawks at. She acts grown-up and gives these bullshit sentiments because that's what is expected of her, in that she's supposed to be above all of this. Then there is Kitamura who doesn't want to become school president partially because it's expected of him. Everybody took it for granted but he contemplated that he was only doing it for a shallow reason and figured he had no love for the actual role. So Kitamura thought by breaking people's visual image of him, he could shake those expectations.
Finally there is Sumire, who was so concerned about how Kitamura viewed her, that she became stagnated and couldn't either dump him properly or encourage him. Instead she took the worst road possible and left him hanging. It took Taiga beating the shit out of Sumire, for her to come clean. Expanding on that apocalyptic fight, it continues the trend of the show having these really big cathartic moments, a staple of the anime’s remaining episodes. They're not pretty in the emotional sense as many times the characters are venting their own frustrations, but they do reflect the opinion of the audience and have genuine feelings behind them. Taiga calling Sumire a coward made me feel all fuzzy inside as I was thinking just that less than five minutes prior.
If there was any structural complaint I had about the 2nd half of the show is that the pacing is slightly wonky in certain sections. Mainly in the Christmas arc as I felt it was about an episode too long. The arc isn't longer than other ones, it's 3 episodes, however due to the drama it feels longer than any of the other arcs. One of the show's greatest strengths is its pacing, in that things are resolved in a fairly expedient manner. The Christmas arc is about Ryuuji trying to get Minori to this damn Christmas party but because she realizes she loves Ryuuji and that Taiga loves Ryuuji (or at least needs him), she's in a depressed mood. It's frustrating because the arc dwells on this and Minori isn't there to deliver any comedic content.
The conclusion to the arc is so despairing that I imagine Okada was almost literally licking the tears off of fans' faces when this aired. The stark contrast of the Merry Christmas jingles with Taiga realizing that she's going to die alone and nobody cares about her or Minori watching Taiga cry and scream on the street, got a laugh out of me. Not so much that it was badly done but because this was just such classic Okada. I love the 30 year old single teacher who kept repeating because they put in the hard work, the students' efforts would be rewarded, and at the end of the episode nobody is happy. Welcome to the real world.
The ski trip was all about honesty and it seemed like everybody got a piece of that pie. Ami was in full jealousy mode and lashed out at Minori leading to this exchange:
The cat claws came out and Ami was looking for blood. You could tell even in the previous arcs that Ami was getting fed up with the current situation and she snapped at Minori who was keeping everything in a circling pattern. They're both people who wear these masks to the outside world and in these couple of episodes, those masks slip right off.
On the directorial side, I found Nagai expanding his repertoire a bit. For example, the climax to this arc used the ending theme song as an outro leading into the ending credits. This is the first time he does it and it's really effective emotionally due to the impact of what Taiga is unknowingly saying to Ryuuji. I didn't remember this scene and all, so it threw me for a loop. Ryuuji's facial reactions sold this scene in that it's clear the impact of what she's saying is hitting him full on.
Before the trip, there are scenes, such as the above, that represent the growing gap between Taiga and Ryuuji. There's also stop signs and red in the above sequence which signify how their relationship is somewhat stalled due to the ending of the Christmas arc and Taiga's realization of her own feelings. Not to mention things like Ryuuji and Minori each carrying a handle of Taiga's bag is an unsubtle reflection of how they're both supporting her.
Of course there is the famous closed classroom scene at the end of episode 23. I thought that was a rather effective way of demonstrating the importance of the Ski Trip arc. In this scene we have Minori call out Ryuuji for lying to Taiga about who rescued her. What I thought was especially powerful about this was that it was Minori, not Ami, who snapped. Minori is the one who acts lackadaisical and the ski trip made her realize the damage she caused by acting as if nothing happened. So here she calls out Taiga, who had already sort of figured out that Ryuuji was the one who rescued her but was willfully letting herself believe that Kitamura was the rescuer. It’s apparent earlier in episode 22 when she has to get in her apartment and she sees the hairpin and asked Ryuuji about the incident. Both Taiga and Ryuuji were playing along with the lie as it let them maintain the status quo without hurting each other but the strain on everybody else had reached a breaking point. In addition, some of Minori’s speech was directed towards herself and she was venting her own frustrations. The camera zooming in and Ryuuji slowly lifting his head was a good way of visually affirming that this was the 'make or break' moment for him and that he has made a decision.
This arc brings up a lot of unresolved issues not only in the love quadrangle but Ryuuji and Taiga as individuals. Much of Ryuuji's relationship to Taiga is based around the absence of his father, which as Ami notes he's playing house. He uses the idea of marriage as an excuse to run away rather than face his mother. It's not so much about Taiga but rather that he feels he's an unnecessary burden that Yasuko is carrying and if he leaves, she would be better off. I guess it's an expression of love on his part in that he doesn't want to see her work herself into a grave to support him. It's a childish sentiment on his side but an understandable one when you're dealing with a single mother struggling to make ends meet. He had to grow up in order to help his mother, as seen by his domestic capabilities, but he's also not mature enough to accept help when given. It can take strength of character to accept charity and an outreached hand. Taiga on the other hand is still struggling with the concept of family and feels abandoned.
I think when the show was airing that people had complaints about the marriage proposal and while it does come of as sudden inside the show, I think it's fine. Almost everybody points out that it's a bad idea and Ryuuji is primarily doing it as an excuse to run away. It's something I expect an impulsive and emotional 17 year old would do. For Taiga it's perfect as she's looking for a new family to be accepted into. That's why I think the visit to the grandparents was great as it made Ryuuji realize he was getting too a head of himself while being able to mirror Ryuuji and Yasuko, as she also ran away.
I found the material pertaining to Ryuuji's relationship with Yasuko to be especially moving from a personal level. I also had a single mother growing up and while we didn't have the same debates that Ryuuji and Yasuko had, we did have financial struggles and things like her working herself to the point of physical exhaustion. She has a similar 'everything will work itself out' type of attitude, which is beyond infuriating to deal with. Ryuuji pointing out that Yasuko was vicariously living through him was a little angering in that he did it in the School Festival arc. In addition he was misunderstanding her intentions and reasoning in that she didn't want to be dead weight for him. Both of them viewed each other as burdens for the other party. I feel though that someone needed to have slapped the shit out of him at the conclusion of this though as he was being a right cunt in his delivery. The anime also skips over whether Ryuuji decides to go to college but I think the assumption is that he does.
As for the disappearance, I’m much more comfortable with it on rewatch. There is some level of foreshadowing and Ryuuji set himself up for it as he kept talking about doing things proper and getting both their parent’s approval. I also think Taiga did need to confront her feelings regarding her family. I expected her to disappear at the very end of episode 25 but surprisingly it happens early on into the episode and somewhat delves into her reasoning and the fallout of her leaving. When you are expecting Taiga leaving, it flows a lot better than on first watch.
In conclusion, while certain scenes didn’t hit me as hard as my first time through because I knew they were coming, the show held up remarkable well. The production values weren’t as high as I remembered but the 2nd half does look notably better on a few fronts. I do wish the animation was livelier in certain sections and the backgrounds were more elaborate but the show definitely doesn’t look bad. I appreciated how the show almost completely drops the tsundere aspect after the initial batch of episodes and the only notable physical violence in the back-half is when Minori pokes out the eyes of the boys after a joke and Taiga's final headbutt. How do we go from this to Golden Time? Ugh.
Dedication Through Light
Member
Yu-Gi-Oh! ARC-V 70
I hope we get a not depressed Yuuya-oniichan soon, hes been that way for so long now.
Reira needs to duel, I love how he felt inspired from Jack Atlus.
I hope we get a not depressed Yuuya-oniichan soon, hes been that way for so long now.
Reira needs to duel, I love how he felt inspired from Jack Atlus.
Is it lewd?
Angry Grimace
Two cannibals are eating a clown. One turns to the other and says "does something taste funny to you?"
This week's episode of Charlotte was completely garbage compared to the last one. Going from Evil Mastermind to broken good guy pining after his waifu who saved him in the course of like 1 episode just felt like KEY on steroids, which is exactly what it was.
At least Clannad took like 3-4 episodes to build up a big turn around after the big tramumatic event.
At least Clannad took like 3-4 episodes to build up a big turn around after the big tramumatic event.
Since it's about a bunch of siblings, I would certainly hope not, not that I'd missing out either way.
Cornbread78
Member
Punchline ep. 10-END:
I didn't get to watch much today, but at least I cleared another anime out of my backlog from the winter.
That was some crazy stuff to finish the series off. I actually liked the ending and how it played out. I mean, it was absolute crazyness which fit the rest of the anime well. I'm still a little confused as to how all the events played, out, but it's all right with this one, lol.
I didn't get to watch much today, but at least I cleared another anime out of my backlog from the winter.
That was some crazy stuff to finish the series off. I actually liked the ending and how it played out. I mean, it was absolute crazyness which fit the rest of the anime well. I'm still a little confused as to how all the events played, out, but it's all right with this one, lol.
Dedication Through Light
Member
Punchline was so good. I miss Yuuta (in his superior version, his normal body is bleagh).
MetroidPrimeRib
Banned
Pillow Boys 07
I hope DTL doesn't get banned over this episode
Non Non Biyori Repeat 08
Man, baby Renge was an asshole.
I hope DTL doesn't get banned over this episode
Non Non Biyori Repeat 08
Man, baby Renge was an asshole.
I tried watching Punchline because of Uchikoshi (and I keep hearing it gets better in the end), but my god those first 2-3 episodes are bad. I don't mind ecchi/fanservice, but the whole premise is just too much. Will try to finish it because it's short and I love some Uchikoshi twists, but seriously, panty-triggered meteors...
names2hard4you
Member
Shirayuki 08
Well shit, this episode sure was a downer.
Well shit, this episode sure was a downer.
This is my main issue with the show, too. The thing is they probably couldn't take three to four episodes to build up Yuu's turn since they were already at EP8 to begin with.
Like a poster on the show's OT said, I would've liked it a lot better if the first few episodes had Yuu slowly cooling off thanks to Nao, as that would've made EP7's events more believable rather than being the second time in a row where Yuu's personality changed way too quickly from a despicable asshole who abused his powers to a good person who appreciated his friends being there for him (especially his new waifu, Nao).
... On unrelated news, I've been listening to my Kokoro Connect drama CDs after finally importing them into my iPod, and that reminded me that Miyuki Sawashiro also voiced Inaban here. <3
Basileus777
Member
Legend of the Galactic Heroes 107
God dammit Julian, not even Yang Wenli had this level of ridiculous plot armor. This last season as a whole has felt a lot more contrived than the rest of the show, it's hard to not feel like the characters are serving the plot and not vice versa.
God dammit Julian, not even Yang Wenli had this level of ridiculous plot armor. This last season as a whole has felt a lot more contrived than the rest of the show, it's hard to not feel like the characters are serving the plot and not vice versa.
Turin Turambar
Member
Yep. With Yang I somehow could believe it, with Julian I just see plot armor and contrivance.
Basileus777
Member
Even Yang's ability to always predict what his opponents will do is silly at times (and the how the Rosenritter always make imperial soldiers look like scrubs), but with Julian it feels more unearned.
GKIDS have acquired and plan to release the hit Studio Ghibli film, Only Yesterday with an all new English Dub both theatrically in the US as well as on Blu-ray. Its release will coincide with the films 25th Anniversary. Only Yesterday is a film Directed by Isao Takahata and centres on Taeko Okajima, a 27 year old office lady who goes off on a break to the countryside where she reminiscences about her past as well thinks about her future. The film is an animated adaptation of the manga by Hotaru Okamoto.
Variety.com
Dedication Through Light
Member
Beyond the Boundary dub sounds so good. Tempted to buy now
Hiroomi Voice video https://www.youtube.com/watch?v=A0uTMbNBhKY
Hiroomi Voice video https://www.youtube.com/watch?v=A0uTMbNBhKY
CheapJuice
Member
Jitsu wa Watashi wa - 08
While I don't find this particularly funny despite being a comedy, it does have some great reaction faces. The devil made the show more watchable for sure. Shame she was introduced this late.
While I don't find this particularly funny despite being a comedy, it does have some great reaction faces. The devil made the show more watchable for sure. Shame she was introduced this late.
Looks amazing!! How's the sound quality?
8 X 11 Printer Paper
Member
Jistu wa Watashi Wa 8
Even though the faces aren't quite the level of the manga's I'm happy they jumped around to bring this chapter over.
Even though the faces aren't quite the level of the manga's I'm happy they jumped around to bring this chapter over.
Sounds fine to me but I'm no good judge of that sort of thing.
Two, actually. After Story Spoilers:
Nagisa dies at the end of episode 16. Episode 17 is bottom of the barrel Tomoya, though he starts his recovery by the end of the episode. Episode 18 has him flip the rest of the way upon hearing his dad's story, which is actually the midpoint of the episode.
In terms of minutes, it's actually comparable.
MetroidPrimeRib
Banned
Principal is the best part of JwWw by far so I might watch this episode
Angry Grimace
Two cannibals are eating a clown. One turns to the other and says "does something taste funny to you?"
Except there was a giant timeskip added in there to add some sense that it actually took more than a literal week to get over a huge heel turn.
This is definitely true, but Tomoya never pulled a complete heel turn, either. He was just wallowing in depression and burying himself in work to the detriment of his
daughter
"Clannad is better written than Charlotte" is basically undeniable. I just don't think Yuu is completely over it yet and he doesn't seem like an inherent asshole, either. So him snapping back to quiet depression kind of silently determined to try and help people the way he had been helped isn't that unbelievable. It's a stretch for it to happen that fast, but I've seen worse.
I'm not going to say that basically a good guy Yuu isn't less fun than the asshole that comes out when he's on a power trip. But I do think the story would like us to think that the guy we saw from episodes 2-6 and 8 is more who he is than the guy we saw go mad with power in episode 1 and 7. They didn't illustrate that well, but I'll say this much: I don't think Ayumi would idolize him as much as she did if he was that much of a jerk constantly. It probably would have helped to illustrate better that he probably wanted to go to a good school and get a good job and marry into a good family for Ayumi's sake in the first place and was just going about it all wrong because it was the easy way out.
Basileus777
Member
Legend of the Galactic Heroes END
I asked this earlier to no response, are these gaidens worthwhile? I'm not particularly eager to go through another 50+ episodes of this unless I hear those episodes are of high quality.
It feels odd to have finally finished this given how I started watching it over 3 years ago. The final season was the weakest of the series, but the last episode still managed to be quite poignant. Legend of the Galactic Heroes is not a perfect show by any means, but the long journey to get through it was well worth it. For anyone interested in watching this, going through it season by season instead of marathoning it works quite well, there are several natural break points in the series and you don't need to tackle all 110 episodes at once.
I asked this earlier to no response, are these gaidens worthwhile? I'm not particularly eager to go through another 50+ episodes of this unless I hear those episodes are of high quality.
Cornbread78
Member
Oh Clannad, that is why it is so great.. Careful on the spoilers though, there are a couple peeps watching it right now, lol.
This is basically my take as well. He's not out of depression at all based on the events of ep.8, he is just out of his self-destructive and psychotic mode from Nao's wake up call. It's not a matter of duration, but a matter needing that kick in the head and reminder of love to snap out of it. Those things are very believable. That's what interventions are all about.
hosannainexcelsis
Member
They're OK. They're not necessary by any means, and the quality of the side stories is not up to the quality of the main story, but it you want to spend more time with the characters, they're good for that.
nintendoman58
Member
Hyouka - 11.5
Pretty standard and decent swimsuit bonus episode one would find in an OVA. Though I can see why its called 11.5, since Oreki's sister made her introduction for when she apparently shows up in episode 12.
Whose face for some reason is never shown. May I ask why? Is that really necessary? I don't particularly like it when an anime does this. Like, it's okay in shows like Gaiking where the face being hidden is essentially just part of the character's design and more or less becomes a visual joke. And it's also okay in shows like Yuki Yuna where its pretty much a big part of the story.
But here, there's all these different camera angles being thrown around to intentionally hide it for this one character. I know I'm nitpicking here, but this kind of thing feels really annoying to me. It just feels like a pointless tease. Just show her face!
Pretty standard and decent swimsuit bonus episode one would find in an OVA. Though I can see why its called 11.5, since Oreki's sister made her introduction for when she apparently shows up in episode 12.
Whose face for some reason is never shown. May I ask why? Is that really necessary? I don't particularly like it when an anime does this. Like, it's okay in shows like Gaiking where the face being hidden is essentially just part of the character's design and more or less becomes a visual joke. And it's also okay in shows like Yuki Yuna where its pretty much a big part of the story.
But here, there's all these different camera angles being thrown around to intentionally hide it for this one character. I know I'm nitpicking here, but this kind of thing feels really annoying to me. It just feels like a pointless tease. Just show her face!
Studio Colorido finally released their three most recent shorts on disc at the weekend! One is absolutely wonderful, one is partly wonderful, and the other is merely quite good but probably the most accessible of all, certainly as a good example of what makes them a studio to watch.
So!
The Portrait Studio (Shashinkan)
I'm not good at photos (I have done the hover hand. I am ashamed.)There are a few photos of me that I think are worth keeping - my graduation photo, for instance. Memorable mostly for the story behind it - not the degree, but the fact that it nearly didn't happen at all, and that it's unlike any other graduation photo from my university in recent years. I therefore sympathise with the young protagonist of The Portrait Studio, a delightful short directed by the veteran Takashi Nakamura (creator of my favourite anime of 2004, Fantastic Children). Sometimes you just can't do what the photographer wants you to do; in this case, look anything other than demonic.
A chronological sequence of photographs is an "easy" route to storytelling; put them together fast enough and that's the principle of cinematography, after all. The passage of years, and their inevitable cruelty in a story that spans the 20th century, is hardly uncharted or unexpected territory here, from endearing beginning to bittersweet end. It is utterly to Nakamura and his animators' credit that he invests so much character into it, as the photographer twirls and twists his way through attempting to coax a smile from his subject as she ages from Kaguyahime-esque demon baby to wizened school marm, as the world develops and dies around them in the flash of the camera. The production design, beautifully detailed, is curiously Gallic for something so clearly set in Japan; there's more than a whiff of Sylvain Chomet in the hypermobility and angularity of the faces, not to mention the increasingly dishevelled looking building that houses the portrait studio.
Portrait photography is metaphorically swallowed up by the modern world here. The Portrait Studio is merely a series of snapshots into a life that we perhaps only think we understand by its conclusion; but, as a photographer could probably tell you, it's the composition that's key.
Sonny Boy and Dewdrop Girl (aka Hinata no Aoshigure, aka Rain in the Sunshine)
Young love is prone to flights of fancy, but perhaps not as literal as the one that makes up the most significant - and special - five minutes or so of Sonny Boy and Dewdrop Girl, an otherwise rather twee little film about a young boy called Hinata trying to confess his feelings to the girl he likes, Shigure, who has to move away. Hinata's chronic shyness is played up for comic effect but is over-exaggerated as a result, some of it resulting fairly innocuous but tiresome harem-level panty-viewing accidents; although this is very pleasantly cartoon-ish in its execution and there are other moments of humour which are executed more competently, it's not particularly compelling.
Hiroyasu Ishida is very clearly playing in the same ballpark as his other well known shorts Fumiko's Confession and Paulette's Chair; backdrops feature swathes of blocky, bright colours, and there's some similarly excellent use of CG backdrops for fast motion. The latter comes into play most prominently once the film's use of avian imagery is allowed full reign, as Hinata chases the taxi taking Shigure to the train station, Spitz kicks in on the soundtrack, and Ishida's visual imagination is allowed to flow freely (although not without an acknowledged debt to Kenji Miyazawa...) as Hinata imagines himself soaring through the city to reach his beloved.
This sequence elevates the film far beyond its story; it's beautifully and clearly choreographed, fluidly animated, and entirely worth watching the rest of the film for. I would simply have left it with that and the immediate end of the film; a coda over the credits seems oddly judged and perhaps detracts from the immediate emotion of the ending, but it's truly worth watching for that sequence alone.
Typhoon Noruda (aka Taifuu no Noruda)
When is a short not a short? When it's half a film.
By far the most commercial of these works, Typhoon Noruda is also the most hamstrung by its length, and a lack of originality in contrast to the other shorts here. Set on Okinawa, its socially withdrawn hero and his encounter with a mysterious alien girl who appears at his school is standard young adult fare. Its Laputan heroine and school festival setting are only cursorily explored beyond their surfaces, and the baseball-bromance subplot feels designed for a much longer build-up before its payoff towards the end of the film (not to mention that it, and the film's overall aesthetic, merely made me think of The Girl Who Leapt Through Time). Despite its sci-fi trappings, it's also less obviously visually impressive than the other shorts for some reason; some clever machine animation work by Bahi JD notwithstanding, it's in the wind and rain soaked background art and the boiling clouds that the best work lies.
Here I feel that a longer film - or a series of some kind - might have given the writers the chance to create characters worth feeling something for, so they became more than templates. The most impressive part of the film, in my opinion, is Masashi Hamauzu's lovely piano-driven score. Obviously his, but very fitting.
So a (vastly better!) Arve Rezzle compared to a Little Witch Academia and a Death Billiards, perhaps? It's true that I have damned it with faint praise; it's not bad by any means, but it just wasn't as interesting as it could have been. Still, Colorido continue to show great promise.
So!
The Portrait Studio (Shashinkan)
I'm not good at photos (I have done the hover hand. I am ashamed.)There are a few photos of me that I think are worth keeping - my graduation photo, for instance. Memorable mostly for the story behind it - not the degree, but the fact that it nearly didn't happen at all, and that it's unlike any other graduation photo from my university in recent years. I therefore sympathise with the young protagonist of The Portrait Studio, a delightful short directed by the veteran Takashi Nakamura (creator of my favourite anime of 2004, Fantastic Children). Sometimes you just can't do what the photographer wants you to do; in this case, look anything other than demonic.
A chronological sequence of photographs is an "easy" route to storytelling; put them together fast enough and that's the principle of cinematography, after all. The passage of years, and their inevitable cruelty in a story that spans the 20th century, is hardly uncharted or unexpected territory here, from endearing beginning to bittersweet end. It is utterly to Nakamura and his animators' credit that he invests so much character into it, as the photographer twirls and twists his way through attempting to coax a smile from his subject as she ages from Kaguyahime-esque demon baby to wizened school marm, as the world develops and dies around them in the flash of the camera. The production design, beautifully detailed, is curiously Gallic for something so clearly set in Japan; there's more than a whiff of Sylvain Chomet in the hypermobility and angularity of the faces, not to mention the increasingly dishevelled looking building that houses the portrait studio.
Portrait photography is metaphorically swallowed up by the modern world here. The Portrait Studio is merely a series of snapshots into a life that we perhaps only think we understand by its conclusion; but, as a photographer could probably tell you, it's the composition that's key.
Sonny Boy and Dewdrop Girl (aka Hinata no Aoshigure, aka Rain in the Sunshine)
Young love is prone to flights of fancy, but perhaps not as literal as the one that makes up the most significant - and special - five minutes or so of Sonny Boy and Dewdrop Girl, an otherwise rather twee little film about a young boy called Hinata trying to confess his feelings to the girl he likes, Shigure, who has to move away. Hinata's chronic shyness is played up for comic effect but is over-exaggerated as a result, some of it resulting fairly innocuous but tiresome harem-level panty-viewing accidents; although this is very pleasantly cartoon-ish in its execution and there are other moments of humour which are executed more competently, it's not particularly compelling.
Hiroyasu Ishida is very clearly playing in the same ballpark as his other well known shorts Fumiko's Confession and Paulette's Chair; backdrops feature swathes of blocky, bright colours, and there's some similarly excellent use of CG backdrops for fast motion. The latter comes into play most prominently once the film's use of avian imagery is allowed full reign, as Hinata chases the taxi taking Shigure to the train station, Spitz kicks in on the soundtrack, and Ishida's visual imagination is allowed to flow freely (although not without an acknowledged debt to Kenji Miyazawa...) as Hinata imagines himself soaring through the city to reach his beloved.
This sequence elevates the film far beyond its story; it's beautifully and clearly choreographed, fluidly animated, and entirely worth watching the rest of the film for. I would simply have left it with that and the immediate end of the film; a coda over the credits seems oddly judged and perhaps detracts from the immediate emotion of the ending, but it's truly worth watching for that sequence alone.
Typhoon Noruda (aka Taifuu no Noruda)
When is a short not a short? When it's half a film.
By far the most commercial of these works, Typhoon Noruda is also the most hamstrung by its length, and a lack of originality in contrast to the other shorts here. Set on Okinawa, its socially withdrawn hero and his encounter with a mysterious alien girl who appears at his school is standard young adult fare. Its Laputan heroine and school festival setting are only cursorily explored beyond their surfaces, and the baseball-bromance subplot feels designed for a much longer build-up before its payoff towards the end of the film (not to mention that it, and the film's overall aesthetic, merely made me think of The Girl Who Leapt Through Time). Despite its sci-fi trappings, it's also less obviously visually impressive than the other shorts for some reason; some clever machine animation work by Bahi JD notwithstanding, it's in the wind and rain soaked background art and the boiling clouds that the best work lies.
Here I feel that a longer film - or a series of some kind - might have given the writers the chance to create characters worth feeling something for, so they became more than templates. The most impressive part of the film, in my opinion, is Masashi Hamauzu's lovely piano-driven score. Obviously his, but very fitting.
So a (vastly better!) Arve Rezzle compared to a Little Witch Academia and a Death Billiards, perhaps? It's true that I have damned it with faint praise; it's not bad by any means, but it just wasn't as interesting as it could have been. Still, Colorido continue to show great promise.
John Blade
Member
I guess Mahou Tsukai ni Taisetsu na Koto: Natsu no Sora (Someday's Dreamers II: Sora). It's 12 episode and not many people watch here and it's on Hulu so, you can watch it legal.
(late reply since was busy with sleep + work up to now)
In all honesty my memory of some of the 1st season stuff has kind of faded, but looking back at what I can remember... ME!ME!ME!, Nishi-Ogikubo, Tomorrow From There, Ochibi, and Iconic Field. Gridman was okay but too short and limited in scope (even for this project). Until You Come to Me was fun for rampant baseless Eva speculation.
UltraGunner
Banned
Having finally watched John Wick, this movie feels like it was adapted from an anime.
Admiral Woofington
Member
I'd argue The Raid 2 is more anime than John Wick.
I was bored so I decided to have a look at the data provided by our friends over at someanithing.com and decided to collect some of that data and post it here. The data below is sales data that is sorted out by Distributor/Publisher from 2000 to 2015. Theres data for all of the publishers and Distributors but I decided to pick the ones that were the most relevant. Ive split the data up by year. The Average Unit Sales is exactly that, sum of average sales for that company for that year and Yen Sales is the total sales in yen per year. The way in which the data was broken up means that each year is the year of broadcast and not year of release. Some of the formatting is wonky, but hopefully it all looks fine.
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
--------------
Total (2000 2015)
Total (2010 2015)
someanithing.com
2000
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | | | |
| Bandai Visual | 15,445 | 4 | 446,136,800 |
| King Records | 23,497 | 1 | 1,255,618,200 |
| Pony Canyon | | 1 | |
| Warner Brothers | | | |2001
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | | | |
| Bandai Visual | 25,122 | 6 | 1,044,265,600 |
| King Records | 19,511 | 3 | 936,593,000 |
| Pony Canyon | 13,830 | 3 | 230,094,500 |
| Warner Brothers | | | |2002
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | | | |
| Bandai Visual | 116,997 | 11 | 7,830,560,700 |
| King Records | 39,473 | 6 | 1,356,600,480 |
| Pony Canyon | 3,408 | 1 | 255,178,600 |
| Warner Brothers | | | |2003
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 44,481 | 2 | 3,044,849,600 |
| Bandai Visual | 43,337 | 10 | 1,656,117,400 |
| King Records | 28,608 | 4 | 1,053,101,100 |
| Pony Canyon | 4,008 | 2 | 121,531,800 |
| Warner Brothers | | | |2004
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 13,934 | 1 | 264,303,810 |
| Bandai Visual | 117,499 | 10 | 8,219,427,105 |
| King Records | 21,294 | 6 | 874,578,504 |
| Pony Canyon | 5,021 | 5 | 107,605,171 |
| Warner Brothers | | | |2005
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 34,570 | 8 | 1,514,590,433 |
| Bandai Visual | 23,416 | 10 | 1,429,836,800 |
| King Records | 53,377 | 7 | 2,387,325,600 |
| Pony Canyon | 1,581 | 1 | 24,023,600 |
| Warner Brothers | | | |2006
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 46,441 | 11 | 2,194,848,133 |
| Bandai Visual | 71,352 | 16 | 3,466,374,600 |
| King Records | 25,365 | 6 | 1,197,784,457 |
| Pony Canyon | 4,966 | 4 | 99,935,200 |
| Warner Brothers | | | |2007
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 79,468 | 9 | 3,999,995,900 |
| Bandai Visual | 62,781 | 9 | 2,536,935,800 |
| King Records | 54,384 | 9 | 2,300,396,529 |
| Pony Canyon | 4,401 | 6 | 100,984,500 |
| Warner Brothers | | | |2008
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 81,824 | 12 | 3,635,448,800 |
| Bandai Visual | 136,790 | 8 | 6,899,594,800 |
| King Records | 34,217 | 8 | 1,274,370,000 |
| Pony Canyon | 13,635 | 4 | 466,183,900 |
| Warner Brothers | | | |2009
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 134,205 | 9 | 6,574,602,622 |
| Bandai Visual | 9,115 | 4 | 367,752,810 |
| King Records | 21,770 | 11 | 605,795,800 |
| Pony Canyon | 19,729 | 6 | 997,120,000 |
| Warner Brothers | 4,266 | 1 | 156,641,200 |2010
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 155,596 | 16 | 8,096,933,900 |
| Bandai Visual | 3,131 | 3 | 110,950,800 |
| King Records | 26,889 | 7 | 819,664,600 |
| Pony Canyon | 17,312 | 4 | 666,149,400 |
| Warner Brothers | | | |2011
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 296,699 | 18 | 14,038,266,422 |
| Bandai Visual | 54,244 | 4 | 2,899,179,400 |
| King Records | 52,058 | 10 | 1,931,427,300 |
| Pony Canyon | 27,463 | 8 | 1,293,804,300 |
| Warner Brothers | 8,041 | 2 | 314,558,800 |2012
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 218,180 | 19 | 9,001,451,057 |
| Bandai Visual | 98,203 | 11 | 4,472,156,200 |
| King Records | 40,211 | 9 | 1,524,565,451 |
| Pony Canyon | 33,408 | 7 | 1,473,522,900 |
| Warner Brothers | 43,490 | 4 | 2,681,265,400 |2013
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 97,215 | 13 | 6,368,270,200 |
| Bandai Visual | 80,409 | 11 | 3,879,213,600 |
| King Records | 76,744 | 15 | 2,881,630,657 |
| Pony Canyon | 80,675 | 12 | 4,244,125,000 |
| Warner Brothers | 36,976 | 4 | 2,221,569,200 |2014
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 144,707 | 18 | 5,844,375,800 |
| Bandai Visual | 88,762 | 8 | 3,853,238,800 |
| King Records | 29,845 | 6 | 1,585,642,000 |
| Pony Canyon | 23,545 | 12 | 1,018,860,500 |
| Warner Brothers | 36,565 | 6 | 1,930,501,400 |2015
Code:
| Company | Average Unit Sales | No. of Series | Yen in Sales |
--------------------------------------------------------------------------------------------------
| Aniplex | 80,937 | 11 | 1,910,529,576 |
| Bandai Visual | 18,399 | 2 | 442,119,400 |
| King Records | 66,296 | 5 | 1,161,603,400 |
| Pony Canyon | 10,056 | 4 | 309,175,400 |
| Warner Brothers | 19,991 | 4 | 222,360,200 |Total (2000 2015)
Code:
| Company | Yen Sales (in Billions) | No. of Series |
--------------------------------------------------------------------------------------------------
| Aniplex | 66,488,466,253 | 147 |
| Bandai Visual | 49,553,860,615 | 127 |
| King Records | 23,146,697,078 | 113 |
| Pony Canyon | 11,408,294,771 | 80 |
| Warner Brothers | 7,526,896,200 | 21 |
Code:
| Company | Yen Sales (in Billions) | No. of Series |
--------------------------------------------------------------------------------------------------
| Aniplex | 45,259,826,955 | 95 |
| Bandai Visual | 15,656,858,200 | 39 |
| King Records | 9,904,533,409 | 52 |
| Pony Canyon | 9,005,637,500 | 47 |
| Warner Brothers | 7,370,255,000 | 20 |someanithing.com
Well no more than what's off the list. That's true of 99.999% of TV, anime or not.
Admiral Woofington
Member
oh man gonna start until dawn tonight
will he be able to sleep tonight? Will he call for senpai to rescue him? We'll find out
will he be able to sleep tonight? Will he call for senpai to rescue him? We'll find out
- Status