MetroidPrimeRib
Banned
Dragon Ball Super 99
Not five seconds later, alt-universe Freeza knocks him out of the tournament. Like poetry
Not five seconds later, alt-universe Freeza knocks him out of the tournament. Like poetry
Summer Anime 2017 |OT| More streaming services than shows to watch
- Thread starter TUSR
- Start date
- Status
Re:Creators 5
Ep erased any doubts I had about the show being unaware of just how full of shit it is. Briefly introducing the super robot then settling in to get everyone's paperwork in order is such amazing bullshit and what anyone that's ever whined about "plot holes" deserves.
Ep erased any doubts I had about the show being unaware of just how full of shit it is. Briefly introducing the super robot then settling in to get everyone's paperwork in order is such amazing bullshit and what anyone that's ever whined about "plot holes" deserves.
Admiral Woofington
Member
lmao
Krillin has only ever caught a break in having Android 18 as a loving wife and a daughter who loves him. Everything else he's the butt of the joke, only beaten by Yamcha.
Crimson_Echidna
Banned
MetroidPrimeRib
Banned
I'm just impressed 17 and 18 remembered they have infinite energy and don't have to worry about getting tired so they can go all out the entire time
Aaronrules380
Member
I mean, he got one knockout and 2 assists in the episode as well
Re:Creators 6
man, spending 5 episodes trying to sort and order every last detail in a world where even the antagonist is still mostly lawful evil
then just throwing in a chaotic evil character in like this is too good
her just walking off during Meteora's monologue? even better
She's presumably the most dangerous person there and they just sort of forgot about her lol
man, spending 5 episodes trying to sort and order every last detail in a world where even the antagonist is still mostly lawful evil
then just throwing in a chaotic evil character in like this is too good
her just walking off during Meteora's monologue? even better
She's presumably the most dangerous person there and they just sort of forgot about her lol
Admiral Woofington
Member
All right. Time to watch something in my backlog.
Concrete Revolutio or Dennou Coil?
Concrete Revolutio or Dennou Coil?
Re:Creators 7
Oh I should amend my previous post by remembering how this show draws from the same space as Fate/Stuff and how Fate/Zero's own magic using chaotic evil character came to the forefront in its respective episode six as well. Show structure is weird what with the first arc ending on episode 5. It's like its being adapted from non-existent novels, light or otherwise, despite being original. How wonderfully meta.
Oh I should amend my previous post by remembering how this show draws from the same space as Fate/Stuff and how Fate/Zero's own magic using chaotic evil character came to the forefront in its respective episode six as well. Show structure is weird what with the first arc ending on episode 5. It's like its being adapted from non-existent novels, light or otherwise, despite being original. How wonderfully meta.
Infinite_Respawn
Member
When I was young, I was involved in a lot of performing arts, but the one thing I was never capable of mastering was dance. Despite a natural sense of rhythm, I never really managed to translate my innate talent for dance into something I could be proud of like my other pursuits in singing or acting. As time went on, I feel I came to the realization why: I danced with my head rather than my heart. The younger version of me was so focused on learning the basics, rehearsing choreography, and drilling in the dances in time for our studio rehearsals, and yet in all that time, I never asked what it was I was trying to convey through my dance, let alone what it meant to me. Today, I want to talk to you about HaNaYaMaTa, a show that understands that dance, perhaps more than any other art form, is about the journey of self-discovery one undertakes as they seek to express themselves while bonding with those sharing said same journey.
HaNaYaMaTa is a simple show about a shy girl, Naru, and an eccentric foreigner, Hana, coming together to form a yosakoi club at their school with the help of some other classmates. And really, I could leave the summary at that, but I feel that's greatly underselling HaNaYaMaTa. Unlike a number of other shows that focus on after school clubs, the focus here isn't on the dancing itself. After all, as is mentioned several times in the show, yosakoi is very free-form in comparison with many other styles of dance; only three things are really required: synchronized choreography, flamboyant costumes, and naruko, the small percussive instrument that is shaken to create the distinctive snapping sound to accent the beat. Outside of that, yosakoi is definitely a dance that requires more creative input that most because much of what makes any routine work are the people behind it rather than decades or even centuries of tradition. It seems remarkably fitting then that this was the dance of choice for the author to tell this particular coming-of-age story.
I think what makes HaNaYaMaTa work is the show's writing. There's so much potential for melodrama here, with what seem like simple problems being blown out of proportion for the sake of creating strife that breeds character development, but HaNaYaMaTa works because of how restrained it is most of the time. Nothing the girls go through in this series is particularly over-the-top, but the drama created from these problems they face feel very genuine, as do their reactions to them. These are real issues faced by characters that feel like real people, and in that sense there's a real beauty to the struggles they face, even if they are as simple as feeling ostracized or weighed down by familial obligations. These situations often lead them to discover yosakoi, and its by finding the strength to overcome the challenges before them that they can embrace yosakoi and use it to rediscover themselves. I think that last point is key: yosakoi is not the answer to their problems, but rather the tool they use to express how they've grown after solving their own problems. It's a subtle difference, but it has a profound effect on what their dancing means for these characters, and why the final act has such powerful resonance for us as the audience.
That's to say nothing of the show's visuals, which we should probably talk about. Back when I first heard about HaNaYaMaTa, I assumed looking at the visuals that it was likely the work of a studio like KyoAni or maybe Doga Koto. It was not until much later that I learned to my shock that this was a Madhouse production. Unlike a lot of other studios, Madhouse doesn't have a particular style that makes them easy to identify. Their talent is very unusual in that they seem to specialize in finding unique ways to express what the artist was trying to convey emotionally through their art for every one of their shows. Given that, I was curious what their take on this particular story might look like, and I can't say I'm disappointed by the results. In terms of capturing the emotional tenor of the moment, there are some scenes in HaNaYaMaTa that are likely to take your breath away in terms of their undeniable beauty, not just visually but also in their execution. And while the show doesn't reach those heights often, Madhouse clearly put a lot of effort to make their show stand out from many of its contemporaries via clear attention to detail and a heavy reliance on specialized lighting for multiple scenes. It's a real visual treat, which doesn't feel like something I often get to say for shows like this.
Sometimes you don't get the chance to learn the truth about something you thought you understood until its much too late, but I don't regret the memories I made dancing in my youth. While HaNaYaMaTa is about conveying the truth behind what makes dance so special for its cast, I think its still something everyone should watch because their coming-of-age story is an earnest one, filled with laughs, tears, and a heartfelt sense of satisfaction, just like any good dance should convey.
HaNaYaMaTa is a simple show about a shy girl, Naru, and an eccentric foreigner, Hana, coming together to form a yosakoi club at their school with the help of some other classmates. And really, I could leave the summary at that, but I feel that's greatly underselling HaNaYaMaTa. Unlike a number of other shows that focus on after school clubs, the focus here isn't on the dancing itself. After all, as is mentioned several times in the show, yosakoi is very free-form in comparison with many other styles of dance; only three things are really required: synchronized choreography, flamboyant costumes, and naruko, the small percussive instrument that is shaken to create the distinctive snapping sound to accent the beat. Outside of that, yosakoi is definitely a dance that requires more creative input that most because much of what makes any routine work are the people behind it rather than decades or even centuries of tradition. It seems remarkably fitting then that this was the dance of choice for the author to tell this particular coming-of-age story.
I think what makes HaNaYaMaTa work is the show's writing. There's so much potential for melodrama here, with what seem like simple problems being blown out of proportion for the sake of creating strife that breeds character development, but HaNaYaMaTa works because of how restrained it is most of the time. Nothing the girls go through in this series is particularly over-the-top, but the drama created from these problems they face feel very genuine, as do their reactions to them. These are real issues faced by characters that feel like real people, and in that sense there's a real beauty to the struggles they face, even if they are as simple as feeling ostracized or weighed down by familial obligations. These situations often lead them to discover yosakoi, and its by finding the strength to overcome the challenges before them that they can embrace yosakoi and use it to rediscover themselves. I think that last point is key: yosakoi is not the answer to their problems, but rather the tool they use to express how they've grown after solving their own problems. It's a subtle difference, but it has a profound effect on what their dancing means for these characters, and why the final act has such powerful resonance for us as the audience.
That's to say nothing of the show's visuals, which we should probably talk about. Back when I first heard about HaNaYaMaTa, I assumed looking at the visuals that it was likely the work of a studio like KyoAni or maybe Doga Koto. It was not until much later that I learned to my shock that this was a Madhouse production. Unlike a lot of other studios, Madhouse doesn't have a particular style that makes them easy to identify. Their talent is very unusual in that they seem to specialize in finding unique ways to express what the artist was trying to convey emotionally through their art for every one of their shows. Given that, I was curious what their take on this particular story might look like, and I can't say I'm disappointed by the results. In terms of capturing the emotional tenor of the moment, there are some scenes in HaNaYaMaTa that are likely to take your breath away in terms of their undeniable beauty, not just visually but also in their execution. And while the show doesn't reach those heights often, Madhouse clearly put a lot of effort to make their show stand out from many of its contemporaries via clear attention to detail and a heavy reliance on specialized lighting for multiple scenes. It's a real visual treat, which doesn't feel like something I often get to say for shows like this.
Sometimes you don't get the chance to learn the truth about something you thought you understood until its much too late, but I don't regret the memories I made dancing in my youth. While HaNaYaMaTa is about conveying the truth behind what makes dance so special for its cast, I think its still something everyone should watch because their coming-of-age story is an earnest one, filled with laughs, tears, and a heartfelt sense of satisfaction, just like any good dance should convey.
ID-0 11-12 (End)
Fantastic show.
I'll just link hosannas review because that probably covers everything better than I could, but man was this good. This is how you tell a story in 12 episodes, while covering meaningful themes. Take note anime writers.
Also, I just took a look at MAL (shouldn't have..) and this has a score of 6.86.
Anime fans are disgusting trash.
Fantastic show.
I'll just link hosannas review because that probably covers everything better than I could, but man was this good. This is how you tell a story in 12 episodes, while covering meaningful themes. Take note anime writers.
Also, I just took a look at MAL (shouldn't have..) and this has a score of 6.86.
Anime fans are disgusting trash.
veloxStrix
Banned
Made in Abyss Ep. 2 - Slight spoilers
Writing this up shorter and sloppier than I would like, but I have Day 3 of the Pitchfork Music Fest tomorrow and I'd like to get some sleep. BUT I also feel like I have to put my thoughts down.
Made in Abyss is shaping up to be a critique on capitalism as a whole. The world is a surprisingly clear mirror of our own - a world where global GDP has increased by 630% since 1980 but inequality, hunger, and poverty have all risen as well. A world based on a system that trades humans and nature for wealth. A world where children are put to work for the gain of faceless others. Even worse, the entire system is rigged in both. From the moment they set foot in their world, the people of Oosu are told about how great it is to be a cave raider. The cave raiders are legendary beings who all aspire to be. They are famous, loved, and rich. No one can think to escape because they don't know anything else, caught up in capitalistic dreams.
Writing this up shorter and sloppier than I would like, but I have Day 3 of the Pitchfork Music Fest tomorrow and I'd like to get some sleep. BUT I also feel like I have to put my thoughts down.
Made in Abyss is shaping up to be a critique on capitalism as a whole. The world is a surprisingly clear mirror of our own - a world where global GDP has increased by 630% since 1980 but inequality, hunger, and poverty have all risen as well. A world based on a system that trades humans and nature for wealth. A world where children are put to work for the gain of faceless others. Even worse, the entire system is rigged in both. From the moment they set foot in their world, the people of Oosu are told about how great it is to be a cave raider. The cave raiders are legendary beings who all aspire to be. They are famous, loved, and rich. No one can think to escape because they don't know anything else, caught up in capitalistic dreams.
And the show is aware of this. The argument the show makes against this world is most clear when Lyza literally trades the Unheard Bell for her daughter's life - giving up riches and prosperity for the chance to see her child laugh and play. For the future of mankind which is not in the strength of our economies but in our lives and our children's lives. I think if the show expands on these ideas as it goes on, something that seems very likely given what we have seen so far, it will be something extraordinary.
MikeHattsu
Member
Where's there?
Hmm. This isn't as good as it is in my head, if that makes any sense. Age is catching up with it; it seems markedly more static than I remember it being, and the sound quality on Kiseki no Umi is very 90s (although the song is, of course, still a classic, and it doesn't suffer so much on CD or whatever!).
The "flame dragon" towards the end is still wonderful (particularly in how it syncs to the bridge of the song), but much of the animation looks as though it's just taken from the show itself, and the earlier sections were (unsurprisingly) not designed to be seen in high definition.
Theonik
Member
IIRC it was an early DVD transfer using the Laserdisk as a source. Later episode DVDs looked less horrid though.
Texhnolyze: 16
Main theme is the future and about the way people react to having their futures known by the seer. You also get further context as to why all those defections have been happening to the gangs. This is also the most typical actiony the show has gotten. Honestly, a lot of the action in this show is not really that good due to the minimalist nature of it. This show is way more effective at conveying small, impactful moments of violence than action set pieces.
Main theme is the future and about the way people react to having their futures known by the seer. You also get further context as to why all those defections have been happening to the gangs. This is also the most typical actiony the show has gotten. Honestly, a lot of the action in this show is not really that good due to the minimalist nature of it. This show is way more effective at conveying small, impactful moments of violence than action set pieces.
Dunno about action, but Made in Abyss looks promising.
am I looking at four different shows or just one show...
Knights & Magic 1 - 2
This show's odds were completely stacked against it. Japanese mecha otaku, after being killed and reincarnated into an isekai world, uses his godlike knowledge of typically mundane skill and applies it to this other world's magic system that operates mecha-like robots.
This show instantly falls into the category of irredeemable trash that we have seen time and time again just based off the premise. However, the show somehow manages to work on a level that others of its type do not. Typically I would be rolling my eyes at this anime and the wish fulfillment bullshit, but watching the MC have a blast in his new life and see him flip the table of their conventional knowledge is extremely satisfying. Seeing the MC and his buddies brandish their custom made gun-sword-staves and fend off those monsters while everyone else has their magic sticks and just going like 'wat' gave me a stupid grin on my face.
I wish I were smarter and could explain why it works so well. I guess it's all about the execution.
This show's odds were completely stacked against it. Japanese mecha otaku, after being killed and reincarnated into an isekai world, uses his godlike knowledge of typically mundane skill and applies it to this other world's magic system that operates mecha-like robots.
This show instantly falls into the category of irredeemable trash that we have seen time and time again just based off the premise. However, the show somehow manages to work on a level that others of its type do not. Typically I would be rolling my eyes at this anime and the wish fulfillment bullshit, but watching the MC have a blast in his new life and see him flip the table of their conventional knowledge is extremely satisfying. Seeing the MC and his buddies brandish their custom made gun-sword-staves and fend off those monsters while everyone else has their magic sticks and just going like 'wat' gave me a stupid grin on my face.
I wish I were smarter and could explain why it works so well. I guess it's all about the execution.
I think the limited color space gives it an older feeling than maybe it should have as it looks more dated than the remastered OVA BDs. It's from an SD source as the set only came with the TV series on DVD but it was nice to have access to a clean version of the OP. I think it'd be closer to how one might remember it if it too benefited from the same sort of treatment even if only the OP deserves it.
SliceSabre
Banned
Kizumonogatari 1-3
I really suck at reviewing anime and so I'll just keep it simple: This was everything I was expecting and hoping for from this prequel story and more.
Character motivations going forward in the series, why certain characters act the way they do, why Araragi's relationship with Shinobu is the way it is along with Hanekawa. It all seems to be satisfactorily covered in these three movies.
And the style? Holy shit these movie ooze with so much style. I absolutely adored how the characters looked against the 3D backgrounds. Every fight scene was a joy to watch and never felt contrived because the end results felt like the right based on the information we learned about each of the combatants. Hell in some ways each fight despite being deadly serious how plenty of amusing moments in them.
Anyone who likes this series NEEDS to watch these movies otherwise you are doing a disservice to yourself.
I really suck at reviewing anime and so I'll just keep it simple: This was everything I was expecting and hoping for from this prequel story and more.
Character motivations going forward in the series, why certain characters act the way they do, why Araragi's relationship with Shinobu is the way it is along with Hanekawa. It all seems to be satisfactorily covered in these three movies.
And the style? Holy shit these movie ooze with so much style. I absolutely adored how the characters looked against the 3D backgrounds. Every fight scene was a joy to watch and never felt contrived because the end results felt like the right based on the information we learned about each of the combatants. Hell in some ways each fight despite being deadly serious how plenty of amusing moments in them.
Anyone who likes this series NEEDS to watch these movies otherwise you are doing a disservice to yourself.
Oh and Araragi is a bitch and should have grabbed them kitty titties.
-Minsc-
Member
I looked at the trailer for this a couple weeks ago. Right away I was sold, going to have to buy the DVD or something when it comes out so I can watch it without feeling guilty.
Turin Turambar
Member
Kizumonogatari 3
In where Araragi learns what a vampire is. We also learn how vacuous and self-centered he is, he is so in love with the ideal of saving people and self-sacrifice he made all this mess as result.
In where Araragi learns what a vampire is. We also learn how vacuous and self-centered he is, he is so in love with the ideal of saving people and self-sacrifice he made all this mess as result.
5 even !
Diebuster 2
Great show. Not much to say other that even when Enokido was still good, he was already a hack dependent on rehashing his plots and motifs.
Dedication Through Light
Member
Dedication Through Light
Member
omg those Dorksta faces are so good! I need him.
Kizumonogatari 2 Nekketsu-hen
Unfortunately, I can't find time for watching the last film but this particular part ends at a pretty decent spot. I don't intend to talk about it as adaptation because evidently, it's been incredible, they touched on key information explicitly albeit briefly, something I was a bit wary of. I do intend to talk about it as someone who read the book.
The appeal for this prequel story upto this point for me is the vampire world and how Araragi's discovers his capabilities. The battles are quite strategically setup in the way they begin, fold out and conclude but the key part of what made them enticing for me(while reading) was how revelations/vampiric abilities were brought forth during or after them. Knowing them deflates the surprise but being an animated film, the visual aspect stands out more. There's a lot of small liberties they took towards them for good reason but the battles are quite brief and these "liberties" have much to do with environments or at least different from the environments I've imagined while reading. It's generally intriguing to see how different it looks from what I've imagined.
Araragi's ramblings over potentially losing humanity were understandable but it's a far less interesting aspect of the story than what it builds to (in part 3) but it did some what invoke some thought when I first encountered while reading it. Outside of the visual aspects of the story, almost everything else lacks the punch once you know what happens, it relies a lot on surprise/revelation but I appreciate the ocassional visual humor which works out great.
I also appreciate Hanekawa's confession about herself, came off just right.
They're certainly aren't shying away from the suggestive scenes - it's worth noting that Nisio Ishin had an afterword in the book saying that he didn't expect the series to be as successful as it was and it was something he wrote to "entertain himself" if the translation of the book is to be followed. He further goes on to say:
That's actually quite profound enough to wonder what sort of self reflection he did about his success. As much as I like the themes he tackles, I had assumed he would tone down on the service but that's not what I'm seeing/reading.
Unfortunately, I can't find time for watching the last film but this particular part ends at a pretty decent spot. I don't intend to talk about it as adaptation because evidently, it's been incredible, they touched on key information explicitly albeit briefly, something I was a bit wary of. I do intend to talk about it as someone who read the book.
The appeal for this prequel story upto this point for me is the vampire world and how Araragi's discovers his capabilities. The battles are quite strategically setup in the way they begin, fold out and conclude but the key part of what made them enticing for me(while reading) was how revelations/vampiric abilities were brought forth during or after them. Knowing them deflates the surprise but being an animated film, the visual aspect stands out more. There's a lot of small liberties they took towards them for good reason but the battles are quite brief and these "liberties" have much to do with environments or at least different from the environments I've imagined while reading. It's generally intriguing to see how different it looks from what I've imagined.
Araragi's ramblings over potentially losing humanity were understandable but it's a far less interesting aspect of the story than what it builds to (in part 3) but it did some what invoke some thought when I first encountered while reading it. Outside of the visual aspects of the story, almost everything else lacks the punch once you know what happens, it relies a lot on surprise/revelation but I appreciate the ocassional visual humor which works out great.
I also appreciate Hanekawa's confession about herself, came off just right.
They're certainly aren't shying away from the suggestive scenes - it's worth noting that Nisio Ishin had an afterword in the book saying that he didn't expect the series to be as successful as it was and it was something he wrote to "entertain himself" if the translation of the book is to be followed. He further goes on to say:
That's actually quite profound enough to wonder what sort of self reflection he did about his success. As much as I like the themes he tackles, I had assumed he would tone down on the service but that's not what I'm seeing/reading.
Dedication Through Light
Member
Monster Hunter Stories Ride On Episode 41
I was about to say Cheval is at least good enough to take care and keep Hyoro and Mille company but that pointless fight and his useless comment, he deserved what he had coming. The whole time I was like if he keeps it up he will find himself alone.
Though part of me was like, what if something serious had had to them...if only they took it in that direction.
Numbers next week! I cant wait for their intro!
I was about to say Cheval is at least good enough to take care and keep Hyoro and Mille company but that pointless fight and his useless comment, he deserved what he had coming. The whole time I was like if he keeps it up he will find himself alone.
Though part of me was like, what if something serious had had to them...if only they took it in that direction.
Numbers next week! I cant wait for their intro!
In This Corner of the World
I've been waiting for this film for so long and it was worth every second. There's a lot that has been done with war films, even from civilian perspectives, about the tragedy of war, the horrors of war, and so on. But you know what? That's really not what this film is about at all. This is a film about the triumph of life, the power of innocence, and the manifestation of creativity and art even when suppressed and suffocated by the realities of the world. It's not a film that dwells on any particular thing, nor does it milk drama for emotional effect. It simply delivers life anecdotes as vignettes in the life of a girl as she becomes a woman - a string of memories to be cherished, viewed in the way memories often are: exaggerated, hazy, incomplete, or larger than life. The direction feels so effortless, the film just breezes by. The joy, the sadness, the hardships, everything is a celebration of what it is to struggle in life and yet find contentment in it. It might not be a message people like to find in escapism, but it's a vital theme in understanding how humanity works.
The art direction and animation style employed is very faithful to the source material, but in full color and animated it has a life of its own. There's a really strong sense of place in the film, which is important because it is very much about what place means to a person. Where you call home, what you are familiar with, who you are familiar with. Where you come from, and how people know you to be a stranger just from the way you speak. All the little details really add up to make this not just a story of Suzu, but of Eba and Kure as well. Most people know Hiroshima as a place which was struck by an Atomic bomb, but probably not many people know much about Hiroshima as a place itself, so it's nice to see effort put into detailing what these places were like, who lived there, and what people did there. In particular the naval arsenal industry that forms the bedrock of Kure is something that casts a dark shadow over the events of the story retrospectively. The characters in the story may be ignorant of what it means to the world at large, but knowing the nature of WW2 and looking back, it's impossible to not see how it would be dragged into the war directly.
What I really respect the narrative for is that it pulls no punches, but it never preaches. It is not a political story, it is not a guilt trip against war, it is not a sob story about how Japan also suffered, it is a tale of a woman's life who happened to live in that place at that time. There is no attempt to shy away from how nationalism is indoctrinated in the populace, or how the lack of great education in that period made many people choose the obvious choices of being domestic wives or working in the military. This is just life for them, and it wasn't something they labored over morally. Looking back, we can judge, and in part that's the point of examining society historically. But the story doesn't, and it any attempt to point the viewer in one direction or another are entirely with regards to characterizations. This is a story of the people and their little world, not the grander scale of what a world war meant.
Compared to stories like Barefoot Gen and Grave of the Fireflies, I much prefer stories like this and The Wind Rises. I'm not interested in tragedy to make a point, I'm interested in stories of how people might have lived, their ambitions, their loves, their loss, and them finding out for themselves in the end what that means for them. I love how the credits end with a special sequence where they thanked and credited every single backer for the original crowdfunding campaign which made the pilot film possible. It breaks my heart that in an industry as commercialized as anime, that no sponsor was willing to fund it without that show of support. Disgraceful!
I've been waiting for this film for so long and it was worth every second. There's a lot that has been done with war films, even from civilian perspectives, about the tragedy of war, the horrors of war, and so on. But you know what? That's really not what this film is about at all. This is a film about the triumph of life, the power of innocence, and the manifestation of creativity and art even when suppressed and suffocated by the realities of the world. It's not a film that dwells on any particular thing, nor does it milk drama for emotional effect. It simply delivers life anecdotes as vignettes in the life of a girl as she becomes a woman - a string of memories to be cherished, viewed in the way memories often are: exaggerated, hazy, incomplete, or larger than life. The direction feels so effortless, the film just breezes by. The joy, the sadness, the hardships, everything is a celebration of what it is to struggle in life and yet find contentment in it. It might not be a message people like to find in escapism, but it's a vital theme in understanding how humanity works.
The art direction and animation style employed is very faithful to the source material, but in full color and animated it has a life of its own. There's a really strong sense of place in the film, which is important because it is very much about what place means to a person. Where you call home, what you are familiar with, who you are familiar with. Where you come from, and how people know you to be a stranger just from the way you speak. All the little details really add up to make this not just a story of Suzu, but of Eba and Kure as well. Most people know Hiroshima as a place which was struck by an Atomic bomb, but probably not many people know much about Hiroshima as a place itself, so it's nice to see effort put into detailing what these places were like, who lived there, and what people did there. In particular the naval arsenal industry that forms the bedrock of Kure is something that casts a dark shadow over the events of the story retrospectively. The characters in the story may be ignorant of what it means to the world at large, but knowing the nature of WW2 and looking back, it's impossible to not see how it would be dragged into the war directly.
What I really respect the narrative for is that it pulls no punches, but it never preaches. It is not a political story, it is not a guilt trip against war, it is not a sob story about how Japan also suffered, it is a tale of a woman's life who happened to live in that place at that time. There is no attempt to shy away from how nationalism is indoctrinated in the populace, or how the lack of great education in that period made many people choose the obvious choices of being domestic wives or working in the military. This is just life for them, and it wasn't something they labored over morally. Looking back, we can judge, and in part that's the point of examining society historically. But the story doesn't, and it any attempt to point the viewer in one direction or another are entirely with regards to characterizations. This is a story of the people and their little world, not the grander scale of what a world war meant.
Compared to stories like Barefoot Gen and Grave of the Fireflies, I much prefer stories like this and The Wind Rises. I'm not interested in tragedy to make a point, I'm interested in stories of how people might have lived, their ambitions, their loves, their loss, and them finding out for themselves in the end what that means for them. I love how the credits end with a special sequence where they thanked and credited every single backer for the original crowdfunding campaign which made the pilot film possible. It breaks my heart that in an industry as commercialized as anime, that no sponsor was willing to fund it without that show of support. Disgraceful!
Princess Principal 02
Yeah, this continues to be really damn good. Hell, I thought it was even better than the first episode. There was no action at all, but that web of truth and lies and spywork had me glued to the screen. Also raises some new very intriguing questions.
AOTS candidate for sure.
Yeah, this continues to be really damn good. Hell, I thought it was even better than the first episode. There was no action at all, but that web of truth and lies and spywork had me glued to the screen. Also raises some new very intriguing questions.
AOTS candidate for sure.
The scene transition to this shot was so good
hosannainexcelsis
Member
I hear you. It's easy for us to judge people in another time and place for not thinking like us and having the same standards we do, without being humble enough to recognize that if we were placed in the same situation those people were in we might easily have made the same choices. It reminds me of a theme that a history podcaster I'm fond of, Dan Carlin, keeps returning to: he wishes that there was some kind of potion we could drink that would allow us to replicate the emotional experiences of a person from another time period, so we could better understand why they thought and acted as they did. I won't be able to see this film until it opens here next month, but I suspect it and other works of art like it may be the closest we can get towards that kind of potion.
It's an unfortunate situation indeed, but I'm glad that the film was able to eventually secure enough funding to be made and that it's been as successful as it has been since its release. I'm hoping the commercial success of In This Corner of the World will make it more likely for similar films to be funded in the future, since it provides concrete evidence that there is an audience who will support them.
Turin Turambar
Member
Welcome to the Ballroom 2
In this episode, we have been introduced to the dynamics between Shizuku and Hyoudou Kiyoharu. He is super talented (though we see he puts the hard work) and she is a bit unsure she can stay at his level, while Kiyoharu seems to have a motivation problem, in fact Senguku tries to use the fact Tatara was copying him to incite him.
More than the animation (thought there is a nice scene in this ep) the series is focusing more on detailed close ups like this:
In this episode, we have been introduced to the dynamics between Shizuku and Hyoudou Kiyoharu. He is super talented (though we see he puts the hard work) and she is a bit unsure she can stay at his level, while Kiyoharu seems to have a motivation problem, in fact Senguku tries to use the fact Tatara was copying him to incite him.
Scary!
More than the animation (thought there is a nice scene in this ep) the series is focusing more on detailed close ups like this:
Re:Creators 9
jesus when they said Magane's weapons were words I mostly assumed the magic she demonstrated and being able to out-talk people. this is on another level lol It's like Meteora spent episodes telling everyone the truth just for Magane to start unraveling everything just for fun.
Waste not, want not.
jesus when they said Magane's weapons were words I mostly assumed the magic she demonstrated and being able to out-talk people. this is on another level lol It's like Meteora spent episodes telling everyone the truth just for Magane to start unraveling everything just for fun.
MikeHattsu
Member
Can't blame us that were in London for Hyper Japan then.
Fake. They'd shot him if he brought Nico.
It's certainly one of those shows I didn't see anyone talk about back when it was airing. I did like it quite a bit back then though, so it's always nice to see it get some more love.
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