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Winter Anime 2016 |OT| Celebrating the New Year and PSO2's release in the west!
- Thread starter BGBW
- Start date
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names2hard4you
Member
Rakugo 07
And this is how Bon loses the girl, Shin gets her and then the two end up fighting, isn't it. To be fair, Bon is treating the girl like crap. I get that business is good, and you may want to put some focus on it, but the way he treated Miyokichi was a little too cold. I think by now it was clear that she had legitimate feelings for him, and he knows it.
And this is how Bon loses the girl, Shin gets her and then the two end up fighting, isn't it. To be fair, Bon is treating the girl like crap. I get that business is good, and you may want to put some focus on it, but the way he treated Miyokichi was a little too cold. I think by now it was clear that she had legitimate feelings for him, and he knows it.
Honestly, I'm having trouble figuring out if I'm still intrigued by this show or bored of it.
names2hard4you
Member
I think it is one of the better shows I've watched in a year or more in terms of plot. I enjoy watching it. It has the right amount of drama, sprinkled with some comedy here and there as well as giving us a bit of a history lesson about how things were back then in Japan.
Show isn't for everyone though, that's for sure.
Cornbread78
Member
Man, these last few episodes of Steins Gate are tough to get through, shit...
Steins Gate ep.22
Wow, I was not expecting that
at all. That made it 10x harder for him now.
..
Steins Gate ep.22
Wow, I was not expecting that
ship with Kirusu
Mayuri knows everything, she remembers everything, she has his power too, that response when he returned to the Alpha timeline says it all
Dedication Through Light
Member
Noboru's new outfit is great. Best tiger. (Buddyfight DDD)
We still have all the key/promise/10 years ago BS to go, that's going to take up a chunk of time.
MetroidPrimeRib
Banned
There's an OVA in March that adapts the starting chapters of the second arc so...maybe
NaDannMaGoGo
Member
Shouwa Genroku Rakugo Shinjuu - 07
This episode blew me away in parts. Just absolute beautiful portrayal of the growing rift between Miyokichi and Kiku. The directing is simply on point and not just when these two are actively engaging with each other but throughout the entire episode or even show so far. The characterization for these two and Sukeroku is thorough and present and consistent in pretty much every scene.
My favorite episode yet and it feels like it just keeps getting better and better while already starting strong.
edit:
The dynamic between these 3 characters is just so, so good. I'm feeling so bad for Miyokichi. The envy she must feel when she sees Sukeroku getting the affection she's longing for with ease. She kept fighting (respectfully) for it so hard, too, but has likely accepted that her goal is out of reach.
This episode blew me away in parts. Just absolute beautiful portrayal of the growing rift between Miyokichi and Kiku. The directing is simply on point and not just when these two are actively engaging with each other but throughout the entire episode or even show so far. The characterization for these two and Sukeroku is thorough and present and consistent in pretty much every scene.
My favorite episode yet and it feels like it just keeps getting better and better while already starting strong.
edit:
The dynamic between these 3 characters is just so, so good. I'm feeling so bad for Miyokichi. The envy she must feel when she sees Sukeroku getting the affection she's longing for with ease. She kept fighting (respectfully) for it so hard, too, but has likely accepted that her goal is out of reach.
I feel like there are at least 4 different stopping points from the start of what would be a new season to the point where the manga is now, unless they skip a bunch of stuff.
But I sure hope they do.
Hellwarden
Member
Garo Crimson Moon episode 18
OH MAN, finally, stuff is happening!
...Oh wait, no it's not.
OH MAN, finally, stuff is happening!
...Oh wait, no it's not.
KillerMan91
Member
Yeah. I haven't laughed this much in ages as I did when I read the two recent chapters. So good.
If you don't start to like Helga by the time episode
19
Not sure how can you prefer Cooks part, they are mostly just an excuse for exposition and setting up plot points.
The second half of the show is very different anyway. Also don't skip the ED in the next episodes (Skipping Origa should be a capital sin anyway).
Dedication Through Light
Member
Cornbread78
Member
Heavy Object ep.19
Quietly, this is by far one of the best shows of the season. Non-stop action from start to finish, comedy and enough McGiver to keep the mysteries interesting and fun. Quenthar is the man, it still no Princess x Quenthar shipping, even though we know it's a must. This show is awesome stuff.
Quietly, this is by far one of the best shows of the season. Non-stop action from start to finish, comedy and enough McGiver to keep the mysteries interesting and fun. Quenthar is the man, it still no Princess x Quenthar shipping, even though we know it's a must. This show is awesome stuff.
Dedication Through Light
Member
Divine Gate Episode 7
Wow this episode felt like such a JRPG even with the running on a spiral staircase to the final dungeon and the back to back mid bosses. So many of my favorite characters
Brilliant storytelling.
I hope Aoto and Akane can do something.
Wow this episode felt like such a JRPG even with the running on a spiral staircase to the final dungeon and the back to back mid bosses. So many of my favorite characters
off'd brutally
I hope Aoto and Akane can do something.
Cornbread78
Member
Steins Gate END
Bravo. Now that was a worthwhile ending to this journey. So many twists along the way and so many feels in those last few episodes. Mayuri called him out on it several times as his best friend, but how did he
to complete the mission? Watching
over and over again. Thankfully,
The anime was excellent overall and I'm ashamed I didn't watch it sooner. Soo good.
What are those cognitive computing episodes I see? Are thise just a short series of OVAs?
Bravo. Now that was a worthwhile ending to this journey. So many twists along the way and so many feels in those last few episodes. Mayuri called him out on it several times as his best friend, but how did he
stay sane enough
Kurisu and Mayuri die
Mayuri saved him in the end by slapping him silly as his best friend. I'm happy it didn't turn into a love triangle and I was surprised at the choice made. How did Mayuri sense the past over and over again. Okarin said she didn't have the ability, but she knew deep down.
The anime was excellent overall and I'm ashamed I didn't watch it sooner. Soo good.
What are those cognitive computing episodes I see? Are thise just a short series of OVAs?
Dedication Through Light
Member
Heavy Object Episode 19
Ive lost count of how many times when Qwenthur and Havia split up that they say their line about "you better not have died on me" its kind of sweet how they are so concerned for one another the whole time, then the post battle conversation between them. Best duo ever.
Good battle overall
Continues to be one of the best military~ish LN anime, its all excellent each step of the way.
Ive lost count of how many times when Qwenthur and Havia split up that they say their line about "you better not have died on me" its kind of sweet how they are so concerned for one another the whole time, then the post battle conversation between them. Best duo ever.
Good battle overall
when the 2nd object appeared and fired into the mine I was all sad cause the civilians but thankfully there was communication in time to have nary a soul lost.
Continues to be one of the best military~ish LN anime, its all excellent each step of the way.
Dedication Through Light
Member
Now you can watch Robotics;Notes which is even better than Steins;Gate.
And you can also read the 15 bln manga adaptations of spinoffs of Steins;Gate.
hosannainexcelsis
Member
Urusei Yatsura 8
I liked the fantastical settings of the two stories in this episode. In the first story, I enjoyed the alien landscape and Oshii's fascination with tanks rolling down city streets showing up (later to be seen in Angel's Egg and Patlabor 2), and the second story of the timeslip into dinosaur age was enjoyable for the pleasant lack of Lum/Shinobu squabbling.
I liked the fantastical settings of the two stories in this episode. In the first story, I enjoyed the alien landscape and Oshii's fascination with tanks rolling down city streets showing up (later to be seen in Angel's Egg and Patlabor 2), and the second story of the timeslip into dinosaur age was enjoyable for the pleasant lack of Lum/Shinobu squabbling.
Wait you stayed watching UY? So happy~
names2hard4you
Member
Go watch the recent episode 23 Beta OVA in preparation for Steins Gate 0. Also, watch the movie since it takes place after the events of the show.
PoeticProse22
Member
Shouwa Genroku Rakugo Shinjuu 1-6
This has proven itself repeatedly to be among the best anime has had to offer in the last year or so. Though it would typically be easy for me to isolate a singular episode most worthy of praise, this series, so far, has been remarkably consistent in quality, never yet prone to frustrating bits of repetition or tedium. The last two episodes, in particular, were exceptionally well-executed, as the storytelling has become increasingly confident, capable as it is of weaving several characters and their disparate paths of development into one beautifully told tapestry. Similar to the best within this oft-unappreciated genre, Shouwa Genroku emphasizes its characters and their individualistic complexities above all else, never even allowing the numerous performances to distract from the more meaningful elements of the story. Rakugo, to this point, is merely the seed by which nearly everything of import flourishes.
In only the first two episodes, several unique styles of rakugo were skillfully communicated. The unrefined, yet promising nature of Yotaros performance, along with the confident mastery displayed by the aged Bon in the opening episode, concluding with the embarrassingly dull mutterings performed by his younger self in the second. From there, the gradual transition that is slowly etched into his performances, culminating beautifully with his arresting presentation in the sixth episode is masterfully depicted. It was exceedingly satisfying to see how, after so much time, Bons expressive and confident performance in episode six so closely resembles in style his performance in the first episode, sharing remarkably similar hand gestures, along with the confidently animated manner in which he performs.
The naturalistic quality to the storytelling is perhaps this shows most notable aspect, as it weaves its narrative developments through the evolution of its numerous characters. As such, the character work in this series is rather exceptional. The manner in which surprisingly complex characterization is so delicately filtered into nearly every interaction, particularly with Bon, is continuously enthralling. Fortunately, the storytelling has cleverly avoided even a singular instance of cheap melodrama, adherent instead to a measured restraint, which complements the direction exceedingly well, both determined to emphasize a subtle naturalism within the story.
Though the animation is typically unremarkable, there have been several moments throughout the series that have impressed, notably the sequence in which, toward the end of the first episode, an older Bon, having discarded Yotaro in anger, recalls a ghostly image of Shins younger self flittering past his carriage. The direction here was terrific as well, as we first see Yotaro on his knees in the snow while he fades into the distance, before cutting to Bon looking ahead into the snow, his view then perforated by a specter of Shin that wafts alongside his carriage. Bon looks back, his hand frosting the windowpane, as Shins figure trails behind, swallowed by the darkness and the snow. This striking bit of imagery seemingly intends to convey that the memory of Shin haunting Bon is sparked into existence once again by Yotaros presence, which, at that moment, he is abandoning. The solemn violin that plays alongside this moment thoroughly strengthens its wistful tone.
Rather than existing simply as dull and manufactured framing, Yotaro and Konatsus potential narratives are highly compelling themselves, while also being enriched by Bons traversal into the past. The similarity in style between Yotaro and Shin is made apparent in the second episode and is something that I hope will be further explored once the story returns to the present, as Yotaro will likely be aiming to carve out his own identity and abandon the pursuit of mere imitation. Of course, it appears increasingly likely that the remaining episodes will simply conclude the story of a younger Bon and Shin, while perhaps offering a small glimpse of the present in the final episode or two, rather than completing the story. Though I was initially reticent on the idea of the entire season focusing on the past, assuming instead that all of the source material could have been faithfully adapted in the time they were afforded (especially considering that the end of the manga was announced recently), this approach has allowed for the story to be fantastically paced. Hopefully the sales are strong enough for a second season to be considered, though that seems rather unlikely.
Bon and Shins dynamic has been one of the most compelling aspects of the story, as their wildly contrasting personalities complement each other wonderfully. The vignette that unraveled in the third episode was all the more poignant due to how well the writing had crafted the depth of their relationship in so little time. The moment Bon was confronted with the prospect of being separated from Shin and Rakugo in the third episode, isolated as he would be while wasting away in the country, was really nicely handled.
Having initially expected Miyokichi to be a wholly detrimental figure, I was surprised, refreshingly so, at the enormously positive effect that she has had on Bon. As her boldness and the sensuality she possesses begins to entangle Bon, were offered increasing glimpses into how it gradually influences and awakens Bons stylistic strengths, allowing him to finally relinquish his unerring rigidity and the well-worn conformity that had restrained him for some time. Their dynamic has been one of the most intriguing aspects within the last several episodes. Unfortunately, given the ominous nature of the preview for the next episode and, above all, Miyokichis strange reactions during Bons latest performance, their seemingly budding relationship appears to be quickly arriving at its long-foreshadowed demise. It will be interesting to see how this will affect Bon and his friendship with Shin moving forward, since Shin could very easily become involved with her in the near future. Though I typically loathe any sort of triangle and the cheap drama that inevitably ensues from them, it would be considerably more naturalistic here, rather than appearing as a manufactured cliché.
Despite the potential limitations to whatever excitement can be found in the rakugo performances due to the cultural nuances that are embedded into this form of entertainment, Ive enjoyed them immensely so far. Though the animation isnt quite able to convey the myriad of delicate flourishes within a single performance, several aspects of the production markedly elevate the effectiveness of these sequences nonetheless. Firstly, the voice acting for each of the primary characters is altogether sublime, as Kouichi Yamadera and, in particular, Akira Ishida are able to masterfully convey a plethora of ever-shifting personalities within each performance. Secondly, there are several directorial embellishments that are superbly implemented, such as the interspersed glimpses of the stories being told throughout several of the more significant rakugo performances, which smartly prevent even the smallest measure of tedium from settling in. Finally, the sound direction has been fairly effective in emphasizing the intricacies within a performance or a particularly significant moment. This aspect is at its most impressive in Bons moment of realization in the sixth episode. As Bon looks on at Shins performance, he begins to understand that while Shin extracts his mastery from the joy of the audience, Bon is incapable of that. A rapidly escalating guitar, accompanied by a saxophone, ignites as Bons thoughts slowly unravel towards a self-realization, all the while Shins performance cuts between the foreground and the background. As both instruments spiral further and further upward toward their crescendo, they are suddenly silenced, the curtain falls back, and Bon resolves his inner turmoil by declaring; I have my own rakugo.
Hatakeyama Mamorus direction has displayed some considerable improvements from his work on Sankarea and Rozen Maiden, most noticeably in its consistency, as the thoughtful restraint he began to craft in Sankarea was still decidedly unpolished. The most well-directed episodes, so far, have been the third, fifth, and sixth. The sixth episode, in particular, featured a plethora of stunning and thematically substantive shots. The fifth, however, featured some of the most distinct direction to this point, as the sensibilities within confidently accentuated a sensual atmosphere throughout the entire episode. These flourishes were most evident in the numerous interactions between Miyokichi and Bon. This intimate direction noticeably heightened the effectiveness of the manner in which Miyokichi slowly began to influence Bon. Their rendezvous beneath an umbrella in the fifth episode strongly illustrates this quality, as Miyokichi, drenched from the rain, is dried from its cover. As she talks with Bon, she lets the hem of the kimono she had been attempting to prevent from being dirtied slip down, covering her legs, before she begins to tidy her hair. The camera then slowly trickles downward, focusing on her slightly undone kimono, conveying the subtly sensual nature of their relationship. As the scene comes to a close, the air of inflexibility that Bon had continuously displayed is finally extinguished as Miyokichi clasps her hands around his, the umbrella tilting towards her. In a singular moment, the influence she has on him is succinctly and profoundly illuminated.
Kana Shibues music has been quite impressive, particularly so since this is essentially her debut in anime. The notes of jazz that have been sprinkled throughout the series greatly complement the understated nature of the story. The jagged escalation of a discordant piano throughout a youthful Bons exceedingly unpolished performance in the second episode accentuated the increasingly uncomfortable nature of the moment superbly. Also, the selection that accompanied Bons performance in the sixth episode is very likely my favorite piece that has been used so far, due partially to how comparatively rare it is for woodwinds to be prominently featured. The OP, as introduced in the third episode, is musically superb, as it strongly complements the melancholic nature of Bons tale, all of which is accompanied by some striking visuals. This is quite easily the strongest OP of the season. The ED, though visually and creatively simplistic, features some wonderfully suitable music. The storyboarding has also proven to be quite excellent. For example, the scene in the first episode wherein Yotaro admiringly remarked upon the mastery that Bon has achieved in Rakugo by calling attention to his highly expressive mannerisms was expertly storyboarded, immediately establishing his proficiency.
All in all, Shouwa Genroku consistently manages to impress in nearly every area, excelling, in particular, with its subtle direction, tremendous storytelling, and some thoroughly engaging characters. The preview for the episode airing today heavily suggests that the story will become notably more dramatic, so hopefully the storytelling can retain its subtlety. If the execution of these moments is even moderately consistent with what has come before, then it seems quite unlikely that the quality of the narrative will falter, particularly since each of the primary characters have been deftly positioned into a maelstrom of potentially conflicting motivations and perspectives. In this way, any drama that occurs as a result of the recent developments will very likely be capable of avoiding even the slightest hint of artifice or contrivance. Needless to say, this is undoubtedly my favorite series currently airing.
This has proven itself repeatedly to be among the best anime has had to offer in the last year or so. Though it would typically be easy for me to isolate a singular episode most worthy of praise, this series, so far, has been remarkably consistent in quality, never yet prone to frustrating bits of repetition or tedium. The last two episodes, in particular, were exceptionally well-executed, as the storytelling has become increasingly confident, capable as it is of weaving several characters and their disparate paths of development into one beautifully told tapestry. Similar to the best within this oft-unappreciated genre, Shouwa Genroku emphasizes its characters and their individualistic complexities above all else, never even allowing the numerous performances to distract from the more meaningful elements of the story. Rakugo, to this point, is merely the seed by which nearly everything of import flourishes.
In only the first two episodes, several unique styles of rakugo were skillfully communicated. The unrefined, yet promising nature of Yotaros performance, along with the confident mastery displayed by the aged Bon in the opening episode, concluding with the embarrassingly dull mutterings performed by his younger self in the second. From there, the gradual transition that is slowly etched into his performances, culminating beautifully with his arresting presentation in the sixth episode is masterfully depicted. It was exceedingly satisfying to see how, after so much time, Bons expressive and confident performance in episode six so closely resembles in style his performance in the first episode, sharing remarkably similar hand gestures, along with the confidently animated manner in which he performs.
The naturalistic quality to the storytelling is perhaps this shows most notable aspect, as it weaves its narrative developments through the evolution of its numerous characters. As such, the character work in this series is rather exceptional. The manner in which surprisingly complex characterization is so delicately filtered into nearly every interaction, particularly with Bon, is continuously enthralling. Fortunately, the storytelling has cleverly avoided even a singular instance of cheap melodrama, adherent instead to a measured restraint, which complements the direction exceedingly well, both determined to emphasize a subtle naturalism within the story.
Though the animation is typically unremarkable, there have been several moments throughout the series that have impressed, notably the sequence in which, toward the end of the first episode, an older Bon, having discarded Yotaro in anger, recalls a ghostly image of Shins younger self flittering past his carriage. The direction here was terrific as well, as we first see Yotaro on his knees in the snow while he fades into the distance, before cutting to Bon looking ahead into the snow, his view then perforated by a specter of Shin that wafts alongside his carriage. Bon looks back, his hand frosting the windowpane, as Shins figure trails behind, swallowed by the darkness and the snow. This striking bit of imagery seemingly intends to convey that the memory of Shin haunting Bon is sparked into existence once again by Yotaros presence, which, at that moment, he is abandoning. The solemn violin that plays alongside this moment thoroughly strengthens its wistful tone.
Rather than existing simply as dull and manufactured framing, Yotaro and Konatsus potential narratives are highly compelling themselves, while also being enriched by Bons traversal into the past. The similarity in style between Yotaro and Shin is made apparent in the second episode and is something that I hope will be further explored once the story returns to the present, as Yotaro will likely be aiming to carve out his own identity and abandon the pursuit of mere imitation. Of course, it appears increasingly likely that the remaining episodes will simply conclude the story of a younger Bon and Shin, while perhaps offering a small glimpse of the present in the final episode or two, rather than completing the story. Though I was initially reticent on the idea of the entire season focusing on the past, assuming instead that all of the source material could have been faithfully adapted in the time they were afforded (especially considering that the end of the manga was announced recently), this approach has allowed for the story to be fantastically paced. Hopefully the sales are strong enough for a second season to be considered, though that seems rather unlikely.
Bon and Shins dynamic has been one of the most compelling aspects of the story, as their wildly contrasting personalities complement each other wonderfully. The vignette that unraveled in the third episode was all the more poignant due to how well the writing had crafted the depth of their relationship in so little time. The moment Bon was confronted with the prospect of being separated from Shin and Rakugo in the third episode, isolated as he would be while wasting away in the country, was really nicely handled.
Having initially expected Miyokichi to be a wholly detrimental figure, I was surprised, refreshingly so, at the enormously positive effect that she has had on Bon. As her boldness and the sensuality she possesses begins to entangle Bon, were offered increasing glimpses into how it gradually influences and awakens Bons stylistic strengths, allowing him to finally relinquish his unerring rigidity and the well-worn conformity that had restrained him for some time. Their dynamic has been one of the most intriguing aspects within the last several episodes. Unfortunately, given the ominous nature of the preview for the next episode and, above all, Miyokichis strange reactions during Bons latest performance, their seemingly budding relationship appears to be quickly arriving at its long-foreshadowed demise. It will be interesting to see how this will affect Bon and his friendship with Shin moving forward, since Shin could very easily become involved with her in the near future. Though I typically loathe any sort of triangle and the cheap drama that inevitably ensues from them, it would be considerably more naturalistic here, rather than appearing as a manufactured cliché.
Despite the potential limitations to whatever excitement can be found in the rakugo performances due to the cultural nuances that are embedded into this form of entertainment, Ive enjoyed them immensely so far. Though the animation isnt quite able to convey the myriad of delicate flourishes within a single performance, several aspects of the production markedly elevate the effectiveness of these sequences nonetheless. Firstly, the voice acting for each of the primary characters is altogether sublime, as Kouichi Yamadera and, in particular, Akira Ishida are able to masterfully convey a plethora of ever-shifting personalities within each performance. Secondly, there are several directorial embellishments that are superbly implemented, such as the interspersed glimpses of the stories being told throughout several of the more significant rakugo performances, which smartly prevent even the smallest measure of tedium from settling in. Finally, the sound direction has been fairly effective in emphasizing the intricacies within a performance or a particularly significant moment. This aspect is at its most impressive in Bons moment of realization in the sixth episode. As Bon looks on at Shins performance, he begins to understand that while Shin extracts his mastery from the joy of the audience, Bon is incapable of that. A rapidly escalating guitar, accompanied by a saxophone, ignites as Bons thoughts slowly unravel towards a self-realization, all the while Shins performance cuts between the foreground and the background. As both instruments spiral further and further upward toward their crescendo, they are suddenly silenced, the curtain falls back, and Bon resolves his inner turmoil by declaring; I have my own rakugo.
Hatakeyama Mamorus direction has displayed some considerable improvements from his work on Sankarea and Rozen Maiden, most noticeably in its consistency, as the thoughtful restraint he began to craft in Sankarea was still decidedly unpolished. The most well-directed episodes, so far, have been the third, fifth, and sixth. The sixth episode, in particular, featured a plethora of stunning and thematically substantive shots. The fifth, however, featured some of the most distinct direction to this point, as the sensibilities within confidently accentuated a sensual atmosphere throughout the entire episode. These flourishes were most evident in the numerous interactions between Miyokichi and Bon. This intimate direction noticeably heightened the effectiveness of the manner in which Miyokichi slowly began to influence Bon. Their rendezvous beneath an umbrella in the fifth episode strongly illustrates this quality, as Miyokichi, drenched from the rain, is dried from its cover. As she talks with Bon, she lets the hem of the kimono she had been attempting to prevent from being dirtied slip down, covering her legs, before she begins to tidy her hair. The camera then slowly trickles downward, focusing on her slightly undone kimono, conveying the subtly sensual nature of their relationship. As the scene comes to a close, the air of inflexibility that Bon had continuously displayed is finally extinguished as Miyokichi clasps her hands around his, the umbrella tilting towards her. In a singular moment, the influence she has on him is succinctly and profoundly illuminated.
Kana Shibues music has been quite impressive, particularly so since this is essentially her debut in anime. The notes of jazz that have been sprinkled throughout the series greatly complement the understated nature of the story. The jagged escalation of a discordant piano throughout a youthful Bons exceedingly unpolished performance in the second episode accentuated the increasingly uncomfortable nature of the moment superbly. Also, the selection that accompanied Bons performance in the sixth episode is very likely my favorite piece that has been used so far, due partially to how comparatively rare it is for woodwinds to be prominently featured. The OP, as introduced in the third episode, is musically superb, as it strongly complements the melancholic nature of Bons tale, all of which is accompanied by some striking visuals. This is quite easily the strongest OP of the season. The ED, though visually and creatively simplistic, features some wonderfully suitable music. The storyboarding has also proven to be quite excellent. For example, the scene in the first episode wherein Yotaro admiringly remarked upon the mastery that Bon has achieved in Rakugo by calling attention to his highly expressive mannerisms was expertly storyboarded, immediately establishing his proficiency.
All in all, Shouwa Genroku consistently manages to impress in nearly every area, excelling, in particular, with its subtle direction, tremendous storytelling, and some thoroughly engaging characters. The preview for the episode airing today heavily suggests that the story will become notably more dramatic, so hopefully the storytelling can retain its subtlety. If the execution of these moments is even moderately consistent with what has come before, then it seems quite unlikely that the quality of the narrative will falter, particularly since each of the primary characters have been deftly positioned into a maelstrom of potentially conflicting motivations and perspectives. In this way, any drama that occurs as a result of the recent developments will very likely be capable of avoiding even the slightest hint of artifice or contrivance. Needless to say, this is undoubtedly my favorite series currently airing.
Cornbread78
Member
Gate S2 ep.7
Is it bad that the best part of the episode was the harem part with Rory and Lelei and the sister's battle? The douche prince and his furry chick, who's secretly calling the shots.
How much source material is there left for the show? Are we looking at an incoming 3rd season? I find it hard they can finish everything up in 5 episodes....
Is it bad that the best part of the episode was the harem part with Rory and Lelei and the sister's battle? The douche prince and his furry chick, who's secretly calling the shots.
How much source material is there left for the show? Are we looking at an incoming 3rd season? I find it hard they can finish everything up in 5 episodes....
Cornbread78
Member
Movie? What's it called?
I'll have to look that one up.
you absolutely must watch the OVA episode 25 and then the movie
cognitive computing series are ONA shorts by IBM, they are just little side stories you can watch for fun, they're pretty good, they don't add to the story
Steins;Gate Fuka Ryōiki no Déjà vu
Funimation licensed it awhile ago, but a NA release is still pending.
AnathemicOne
Banned
Baccano!
Just binged this series today (all 13 episodes) and I really like it surprisingly. I put this off for so long (despite hearing good things about it) due to my average reception I had to DRR where it felt really dull in terms of plot progression; personally felt it was more slice-of-life with gang elements thrown in, never went anywhere.
Baccano, in contrast, was self-contained and had a story to tell which I enjoyed, and the duo of Isaac/Miria is one of the best pairings I've seen in anime in a long time.
With that said, I've a few questions regarding the series:
Just binged this series today (all 13 episodes) and I really like it surprisingly. I put this off for so long (despite hearing good things about it) due to my average reception I had to DRR where it felt really dull in terms of plot progression; personally felt it was more slice-of-life with gang elements thrown in, never went anywhere.
Baccano, in contrast, was self-contained and had a story to tell which I enjoyed, and the duo of Isaac/Miria is one of the best pairings I've seen in anime in a long time.
With that said, I've a few questions regarding the series:
- How did Isaac and Miria obtain immortality?
- Was Luck the "demon" summoned by the alchemists way back then?
- If Luck wasn't the demon, how did the Gandor brothers obtain immortality?
- If Luck wasn't the demon, did the demon ever appear as a character in the show?
- What purpose did Firo have as a character?
- Does Rail Tracer have a motive/backstory to serial killing, or is it just for lulz?
Shouwa Genroku Rakugo Shinjuu Episode 7:
So this week was pretty much a character study on Kikuhiko and his flattering relationships. I can't tell you how refreshing it is to have an anime that understands things, like grace, restraint and subtlety in emotion. I am also glad that Miyokichi is an actual fully formed character with her own wants, needs and desires instead of being a cheap plot device that drives a wedge between the bros.
So this week was pretty much a character study on Kikuhiko and his flattering relationships. I can't tell you how refreshing it is to have an anime that understands things, like grace, restraint and subtlety in emotion. I am also glad that Miyokichi is an actual fully formed character with her own wants, needs and desires instead of being a cheap plot device that drives a wedge between the bros.
MetroidPrimeRib
Banned
I always love your well thought out write ups Prose.
Cornbread78
Member
Well, he is a mad scientist after all.
Of course, I'll have to find a copy somehow to check it out with subs.
So the OVA is actually canon to the story then? Nice..
I probably need to rewatch Baccano again, but...
Issac, Miria, and the Gandors all became immortal at the same time Firo and the rest of the Martillo(is that how its spelled?) gang did - Firo's party.
The demon was in the show as a member of the Martillo Family named Ronnie, he does get mistaken for Luck by a lot of other anime watchers, though.
The Rail Tracer is a hitman for the mob, but he got pretty angry people were messing around on the train which is his day job so he decided to do a bunch of killing for free.
And I guess, I'd say that Firo is just one of the many protagonists, in this case the protagonist of the Martillo Family.
Also, I'm pretty sure there's a couple more episodes to the series...hmm, yep 3 more.
OniBarubary
Banned
I think the Princess and her like of Qwenthur is the one thing I actually dislike about the series. The Princess is one of the only characters that so far is pretty one dimensional and uninteresting. She's amusing when she goes full-on Qwenthur Jealous Mode but not in the way the show probably implies; it's funnier in a little sister getting mad her brother ignores her for girls type way and not because she wants him to bone her way. Cause she's fucking 14 and the show's continual sexualization of her as well as trying to paint her as "the one Qwenthur will end up with" is actually making me straight uncomfortable. She's far and away the weakest part of the show and seems to be there only to play off gags or for some young girl fan-service.
If in the LNs he ends up with her I'm gonna be sorely irritated because he doesn't even get along with her in an enjoyable or natural way like he does with Frolatayia or Ohohoho~.
hosannainexcelsis
Member
I still miss the more "gimmicky" direction he brought to Rozen Maiden, with its fantastical touches, and hope he returns to that style in future productions. It might not have been the best fit for this material though, and I certainly appreciate the meticulous deliberateness and understatedness of Rakugo Shinjuu's direction.
what do you mean by 'meticulous deliberateness'? I looked up the words individually but I couldn't make out what they mean together in this context.
Yes, it's a fantastic little OVA, especially the ending.
hosannainexcelsis
Member
Wish Upon the Pleiades 5
You don't see mixed-media animation too often outside the independent sphere, so it was really neat to see it used for the school play story in this episode:
I'm always a fan of when anime chooses to make a shift to a strikingly different stylized type of animation in appropriate places, and the children's storybook feel this style of animation creates is certainly appropriate for this children's fairy tale.
In general, I was very impressed with the storyboard for this episode, which is notably above the general quality level of the show. It's not something that's easily captured in stills, because what really made it great was how dynamic it was in editing and camera movement. The montage showing the passage of time as the princess' dress was made was really snappy, with great timing as it cycled through various shots of the school building. During the driving/flying segments in space, the camera took notably more advantage of three-dimension space than usual, lithely dancing through the girls, the stars, and Saturn in a thrilling manner. The storyboarder and director of this episode, Ayano Ohnoki, is relatively new; she did key animation on Medaka Box and then started directing on Gainax's subsequent shows. If this episode is representative of the quality of work she puts out, I will definitely have to keep my eye on her in the future.
Showa Genroku Rakugo Shinjuu
I mean that the show's shots are chosen very carefully, with close attention paid to the details of framing the characters and their environments in order to enhance the storytelling. It's a thoughtful style of direction, where you get the sense that every visual decision has a reason behind it rather than having been made haphazardly.
You don't see mixed-media animation too often outside the independent sphere, so it was really neat to see it used for the school play story in this episode:
I'm always a fan of when anime chooses to make a shift to a strikingly different stylized type of animation in appropriate places, and the children's storybook feel this style of animation creates is certainly appropriate for this children's fairy tale.
In general, I was very impressed with the storyboard for this episode, which is notably above the general quality level of the show. It's not something that's easily captured in stills, because what really made it great was how dynamic it was in editing and camera movement. The montage showing the passage of time as the princess' dress was made was really snappy, with great timing as it cycled through various shots of the school building. During the driving/flying segments in space, the camera took notably more advantage of three-dimension space than usual, lithely dancing through the girls, the stars, and Saturn in a thrilling manner. The storyboarder and director of this episode, Ayano Ohnoki, is relatively new; she did key animation on Medaka Box and then started directing on Gainax's subsequent shows. If this episode is representative of the quality of work she puts out, I will definitely have to keep my eye on her in the future.
Showa Genroku Rakugo Shinjuu
I mean that the show's shots are chosen very carefully, with close attention paid to the details of framing the characters and their environments in order to enhance the storytelling. It's a thoughtful style of direction, where you get the sense that every visual decision has a reason behind it rather than having been made haphazardly.
Cornbread78
Member
14? Uugghh, I missed that fact... The whole ED is about the princess' love for him, lol.
AnathemicOne
Banned
Huh, I assumed the remaining 3 episodes were not relevant to the main story as they were listed as "special." Just got done watching them and they did add more plot stuff to the story; makes me wonder why they labeled it as such.
As for my Firo question, I ask because he seems like the only character to have little to no relevance to the show compared to the rest of the characters who played either major or minor roles regarding the train/Flying Pussyfoot and/or alchemist/immortality stories. Firo is just kind of there to
ship Ennis with someone and I guess as Maiza's protege whose accomplishment was to take out Szilard (to which Maiza (or Ennis) could've easily done if written as such).
Mr Nash
square pies = communism
Wow, I just noticed that there's a guy who has so far put up an 11 part series on YouTube discussing why he thinks Asterisk War sucks. Each episode is about 15-25 minutes long. I didn't particularly care for the show either, but there comes a point where one just has to let it go. If the series goes much more it'll be longer than watching the actual anime. Even more scary, is that the videos are getting so many views. =O
Wow, he is still going with that? D: He's got to let it go!
Those three episodes I believe were not in the original run of the show.
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