Mobile Armors are dumb, and the main badguy of this show is obsessed with making his dumb mobile armor, even though mobile armors are dumb and always lose to Mobile Suits because mobile armors are dumb.
Anyway, I guess Shiro is piloting the Talgeese now, and Sanders has to spy on him and the nazis are using "DRUGZ" on their soldiers to win a war because that's how you win wars.
Nothing is happening in this show really. Good grief, it takes 3 years to finish this, and 9 episodes in it really does begin to meander like no other. Which I suppose is to be expected of a story that can't have any bearing on the main plot. Is this the tone shift I was forewarned concerning?
This isn't your first time watching it, is it? Inner Universe Babby is pretty much the only blatant Ookawa imagery in the short, aside from his airship fetish showing up in the first scene.
This isn't your first time watching it, is it? Inner Universe Babby is pretty much the only blatant Ookawa imagery in the short, aside from his airship fetish showing up in the first scene.
I didn't visit #animegaf in weeks , i tried tonight and i saw a shocking revelation that may or may not hold true without context ...
I guess i shouldn't underestimate #animegaf Chat
----------------- ACCEL WORLD EX2
Less intresting than the first but still intresting
I haven't watched anything for a while now (what could fill the void after SAO?), but I spent two hours watching Wolf Children Ame and Yuki because of all the hype and commotion I remember reading about the last time I was active.
It is a very beautiful film, but during those two hours I kept thinking "How dumb and naive is this broad?" Mind you, she has my sympathy. Rather, she is the only character I actually care about; the rest of the cast are total insufferable shitwads. She has terrible taste in men, but I can't fault her for that. She's a good mom.
The film also dragged on for about half an hour too long. I really liked the scenes where they show instead of tell, but some of the other scenes seemed unnecessary and made the film longer and therefore less enjoyable as it should have been. All in all, not Hosoda's best film, but an outstanding effort nonetheless.
Okay, so I'm going in this knowing the first half is kind of shit because lol JC Staff, but the changes to the dub actors is a disappointment as well. Probably just because I got used to the first cast, but I really don't think Yuji or Shana's new voices fit too well
Psycho Pass, Sakurasou, and Robotics;Notes are really good, I look forward to R;N every week and it is even fun in associated media, it even got a really good doujin.
However I style myself, I'm not an especially poetic person when it comes to communicating the simple joy of watching a work like this, and however I might appreciate Hosoda's technical mastery in animation and in direction he's put on for display here, I'm at a loss to find the right words to explain exactly why and how.
I can't confess to have seen all, or even most of Hosoda's works - while I count The Girl Who Leapt Through Time and, to an extent, Summer Wars as great films, I've never truly sought him out - until now. And I am very glad I did. Out of the three works now of his that I've seen, this movie included, Wolf Children stands out as his greatest by far.
The movie hinges on a fairly simple premise - a woman falls in love with a wolf-man, and finds herself being forced to raise their two children by herself. While a touch of the fantastical finds itself permeating its' concept, the core of this movie deals in some strikingly honest, grounded, very real themes and joys of growing up, family, motherhood, childhood, and acceptance.
I find myself continually impressed, if not astounded by Hosoda's ability to communicate so much to his audience with so little dialogue. We (rightfully) lauded the talents of Pixar's animators and directors in their ability, such as it was in the opening acts of WALL-E and Up, to tell a story as they did with as few words as possible, and I see no reason why we should not recognize how deftly Hosoda manages to do this throughout the entire film - as I look back on the film, I really can't understate the brilliance of its' many montages, be it Hana and the wolf father's life together, watching a wordless celebration of family in the snow or as it follows the children's journey through elementary school, it's impressive how much the audience understands purely from its' imagery, its' music, and its' framing.
If I had something to dwell over in regards to production, it might be the use of CG to represent passerbys in the crowd near the beginning of the movie, but given how absolutely magnificent this movie is to watch - and how well that Hosoda would proceed to use CG techniques to accentuate the beauty of the many, many flowers in this movie, I can't think of it as anything but a minor quibble. I imagine the only reason it stuck out to me, even, was simply how gorgeous so many scenes were to behold in the film. I've seen people criticize Hosoda's character designs before, and I absolutely can't see why, especially in motion - they animate incredibly well, and their level of expression is quite extraordinary. There's so many scenes in this movie that choose to leave all that needs to be said in body language and in expressions, and it works wonderfully. To use a particular example, as the movie reaches its' close,
there's so much about the goodbye between Ame and Hana that's left entirely to their faces, and as he howls, and music swells the way Hana's face transforms from grief to joy was stunning
. And excuse me while I pluck another example from near the film's end (to be fair, it's quite an emotional crescendo),
the scene where Yuki reveals her true identity to Souhei, the way it used the whipping curtains and that expression of sheer, exultant joy at acceptance of her other side could not be more perfect
.
It's worth mentioning how absolutely beautiful the music is. As I've mentioned, there's many segments of Wolf Children where it communicates almost solely through its' visuals and animation, and it would not have worked nearly as well without Masakatsu's absolutely stunning score to elevate those segments.
Wolf Children is a movie that ends as it began - with much unsaid, but little that needed to be. It's beautiful, emotional, and wonderfully paced, animated, directed, and acted. It uses elements of the fantastic to better bring out some grounded beauty, and it's absolutely the best animated feature - in either side of the hemisphere - I've seen in the past few years. Rarely have movies affected me in the way this did.
Perhaps the most simplest way that I could ever express how much I loved this film was that despite its' nearly two hour runtime, it didn't even feel half that. Whenever this film finally reaches North American shores, it will not be soon enough.
A friend of mine forwarded me some interesting information drawn from French interviews with director Mamoru Hosoda:
"A journalist praised Hana for letting her kids make their choice and wondered how Hosoda's parents handled the news that he wanted to be an animator, given that it's not a well-regarded profession.
"Hosoda said he was interested in the arts (be it drawing, live-action movies or anime) since he was quite young (in a 6th grade essay, he wrote that he wanted "to be a director like Miyazaki"). This was all quite foreign and a bit odd for his parents, but they encouraged him and did what they could to help him. Hosoda noted that he grew up in the region where Wolf Children is set, so, just like in the movie, he was far from everything.
"He moved to Tokyo at age 18 and 'never really went back' home. Working on Wolf Children forced him to rediscover his home region.
"Hosoda said his parents always supported his choices and were proud of him, but when he reflects on it today, he suspects that, privately, they may have wanted him to return home and be an art teacher at the local school after his graduation from college. He had gone into animation instead. Hosoda said his parents accepted his choice, but it's only now that he realises what his parents might have wanted.
"Hosoda's mother died three years ago, shortly after he started working on Wolf Children. There were questions he wanted to ask her, about what it was like to bring him up but, unfortunately, he never got to."
Haha. Dat drama. Got a good laugh out of first half. Don't know if that was its purpose though lol. Also somehow I was annoyed that the drama happened once again while it was raining. Why not perfect sunny day once in a while.
This episode reminds us that people live, work and die. For the businesswoman or man, is this what they live for? Is it all they should live for? How do people deal with the question, if at all?
A decent episode on these questions. Matsukata definitely walked away with something on excessive work and how it can be self-destructive and damaging to relationships.
Additional note: Man, what a bunch of selfish, unhelpful employees. There's no way that every single one of them was swamped to a degree that they couldn't assist with a single interview and write-up. Of course Akihisa lends a hand because he's a great guy like that, but shame on the rest of them!
I really don't know how to properly write down my thoughts on this show other than that it depressed the hell out of me. The world presented was pretty well built, the characters were human even though some physical parts of them may have not been, and the plot while somewhat confusing at times was as entertaining as it was, again, soulcrushingly depressing. I need to watch something fuwafuwa Jesus Christ.