I see this show is already learning from other sports animu. That was a whole ninety-seconds of reused material whose purpose is to remind us of the previous episode's ending! Good work sports animu!
Fucking awesome though! It was dramatic and drastic and fantastic! Keep ticking my bone, football animu. <3
Fair warning: the fucking preview spoils the cliffhanger like five seconds after the ending.
Lol. It'll be plenty opinionated, I should clarify; I'll make sure that each series has its share of information, but have a separate blurb on each one.
My honest advice for Urusei Yatsura, and most 100+ episode shows that aren't LOGH - it's okay to fast forward or skip past entire episodes that aren't working for you. In fact, it's quite healthy. I survived rough patches in Maison Ikkoku that way.
-sigh- I should have done this instead of getting myself bummed out in watching the earlier episodes of Urusei Yatsura... still need to continue where I left off. *_*
No, it's worse than Ponyo. Nothing happens during the credits of Ponyo, you can just leave. Arrietty has an actual scene going on during the credits, one that is completely and utterly ruined by their crimes against humanity.
Haha, I was looking over the Gankutsuou dub cast list, trying to figure out why Albert's VA sounded so familiar despite never hearing of "Kevin Hatcher", and to my surprise discovered it's a union alias of none other than Mr. JYB himself. Not sure why I wasn't able to place it right away; he's one of the more recognizable English VAs to me.
School Days isn't just your average trashy anime though. I mean, seriously, it's kind of the nadir of the whole harem genre and for that reason I'd consider it a legitimately important work.
Yeah, I've never really liked this "recommend the weirdest/worst things" thing, sure watching some of this stuff is amusing, but trying to convince people to watch a whole bunch of them right as soon as they get here... no, I don't agree that that's such a good idea.
Never thought I would become so strongly attached to the characters in the way that I did at its conclusion
Loved the characters, art and music a lot. I will probably always want more information, in terms of understanding the world and the purpose of the Haibane's existence, but since the focus was always on the characters I can deal with it.
I highly recommend checking it out. (I saw it in Jex's 2000-2010 anime recommendation thread so thanks for that)
Haibane Renmei is one of the greatest TV animes ever made, certainly. But as I think Jexihus said, it took a thread of his for you to realize that? I'd think you've have heard of it elsewhere too, or in the regular ABe-art/praise postings in the anime threads...
As for wanting more information, I think that it works reasonably well as it is, and you can make some educated guesses about the situation for sure. Sure, you can't know absolutely what is going on, but that sense of wonder is part of the point. The characters don't know why the place they are in is as it is, so the viewer doesn't either. I think the approach works well, and the character drama that drives the show is strong and very well told.
And the art and presentation are about as good as it gets in the field. Haibane Renmei is the only anime entirely based on an ABe idea (not just art, but story, etc. too), and it's also the one that makes me wish so much that he had more similar opportunities...
I may have heard that one before, but no, that really doesn't make much sense at all.
I mean, my first impression on watching EoE was that it was an alternate ending, ignoring the last two episodes of the anime and telling an entirely different (and more frustrating and Shinji-is-still-stupid version of events; I preferred the anime ending, overall, versus EoE...),, but apparently the anime does hint at some of the events going on in EoE, so I thought the general supposition was that both are happening simultaneously, with the anime ending in his head and EoE on the outside. It doesn't entirely quite make sense --
for example, there's no explanation in either the anime or EoE endings for why he chokes Asuka for a moment at the end, and nor have I heard a good explanation for that
, but I thought that was the general fan idea of what was going on.
Interesting theory there, but why would he decide to recreate a world where they do the same traumatic events all over again? That just doesn't make sense. And also, the anime ended with him with Asuka and no one else back yet, but now after this theoretical reboot they both lose their memories or something and it resets to how it was at the beginning? That'd be kind of odd.
I find the art of the anime off, where as for the manga I feel its fine. The preview doesn't tell you jack unless you've read the manga and know before hand.
I don't think we can blame Mari Okada. I mean, she's written some completely inoffensive stuff and some legit good ones (HanaIro). I think alot of the blame should go to the director and whoever came up with the idea in the first place. Mari Okada is basically Brandon Sanderson in WoT.
One of these days; I thought Jamieson Price did a great job anyway, and it's not like I haven't heard Joji Nakata recently, plus I have enough still on my backlog. Funi does have the full series subbed on Youtube though, so if I had a link to one of his better scenes I'd be glad to take a minute and watch it.
e: more dub connections I should have heard right away: Beau Billingslea (Jet Black) was Bertuccio, which seems blindingly obvious in hindsight.
I find the art of the anime off, where as for the manga I feel its fine. The preview doesn't tell you jack unless you've read the manga and know before hand.
I don't think we can blame Mari Okada. I mean, she's written some completely inoffensive stuff and some legit good ones (HanaIro). I think alot of the blame should go to the director and whoever came up with the idea in the first place. Mari Okada is basically Brandon Sanderson in WoT.
What other people seem to condemn as illogical or stupid in this show, I accept and enjoy as part of the show's style. Not everything has to be constructed like 19th-century naturalistic fiction. We post-20th century readers/viewers can accept stories that sketch characters rather than drawing them in detail, and that jump quickly from event to event, rather than hand-holding us through everything. Conveying the feelings of the characters is what counts, and this show is doing it, for me.
Indeed. I think people who're making a fuss about "illogicality" should really become more familiar with the peculiarities of Japanese society. It's pretty well known that as part of a historical/cultural emphasis on "the greater good of society", there are quite a lot of issues in Japan due to its heavy emphasis on hierarchy, conformity, and "saving face". Yomi's mother's willing ignorance towards the type of oppression Kagari put Yomi through was a perfectly believable dramatization of this kind of tendency, where Yomi's mother was fine with Yomi enduring that abuse for the sake of protecting their general status in society. "The nail that sticks out will be hammered down." It does not matter so much whether Kagari's accident was really Yomi/her family's fault, but that Kagari/her parents are in a great position to complain very loudly that it was so; and in any sort of social situation where this issue could be brought out publicly, it would be Yomi's family which was blamed for not having resolved the trouble appropriately.
I don't think we can blame Mari Okada. I mean, she's written some completely inoffensive stuff and some legit good ones (HanaIro). I think alot of the blame should go to the director and whoever came up with the idea in the first place. Mari Okada is basically Brandon Sanderson in WoT.
Jin-Roh: The Wolf Brigade
This is my 3rd time starting up a post about Jin-Roh before geting distracted/preoccupied, so I'm just going to keep this short. I've had various chances to see this film snatched away due to various circumstances (notably, about 6 years ago, they decided to make the screening at a con 18+ which snuffed my chances there...) so this was almost an obligatory viewing. I was pretty iffy on how I felt about the movie right down to the very last few minutes which changed my whole outlook on the film. Is that odd? The very last scene turned it from a entertaining albeit forgettable story (with great art/animation, but it hardly needs mentioning) to something that I distinctly enjoyed and will remember. If you need a refresher, I'm referring to
when Kei was reciting the words from Rotkäppchen to Fuze before being killed.
Another karuta centric episode but at leas this one had some good tension. Still, I feel that the energy and impact the show had earlier on it's run is all but gone now. I don't know if that's solely down to the direction, or if it's more to do with the source material. Either way it's been a long time since this show "wowed" me.
One surprising thing about the visual quality of this episode was how 'off' some of the reaction shots looked. You'd think that those would be the shots that would have the most love poured into them but I guess not.
You just say that because you're stuck in an old-fashioned, 19th-century naturalistic-writing mindset. We modern critics can accept stories that bravely display raw emotion without the need for quaint anachronisms such as competent pacing or believable characterization.
Going to be at a mini-anime con all day -- Animation on Display, if there's anyone else in the SF Bay Area. Looking forward to several pages of Nise discussion by the time I get back.
You just say that because you're stuck in an old-fashioned, 19th-century naturalistic-writing mindset. We modern critics can accept stories that bravely display raw emotion without the need for quaint anachronisms such as competent pacing or believable characterization.
You just say that because you're stuck in an old-fashioned, 19th-century naturalistic-writing mindset. We modern critics can accept stories that bravely display raw emotion without the need for quaint anachronisms such as competent pacing or believable characterization.
You just say that because you're stuck in an old-fashioned, 19th-century naturalistic-writing mindset. We modern critics can accept stories that bravely display raw emotion without the need for quaint anachronisms such as competent pacing or believable characterization.
What's interesting is that we're probably all familiar with the argument that you should at least try to consider the context that a work was made in when you consume it.
For example, when you watch a film from England in the early 1910's you should hold in mind what style of performance was common in movies at that time and how the conventions for what a movie is and how characters should be portrayed have changed substantially from then to now. You understand that this was a phase, as film makes experimented with 'theatre style' acting and exaggerated characters to convey simple stories in short films.
Yet they're twisting that kind of reasoning backwards. I like the idea that, somehow, 'writing characters in a believable way' was just some kind of trend that people dabbled with before moving on to something else.
