>>136047192 >Ponyo was shit because I didn't care about anyone Exactly, the characters weren't credible enough for you to give a damn about them. If you don't care about the characters there's little more to care about.
For me it was that Ponyo was such an acid trip I got interested into watching it to the end.
>>136048559 Yes I did. It cattered by my 80's action tastes really good. The movie was basically one long scene but for the duration of it but the characters were engaging enough. Specially chrome teeth desertor. It was basic as Fuck but it was solid.
>>136047126 >people treating their destroyed town like it was nothing watching it so soon after the tsunami really made that whole scene feel out-of-touch. like nigga your entire livlihood has been destroyed, and you're gonna sit around talking about breastfeeding?
And then at the end, everybody kept setting Sasuke he had to "be brave" and shit, but what did he need to be brave about? running away from the only person who could actually help him, Ponyo's dad? he was never in any danger.
Nausicaa is fairly mediocre. Full of cliches, stereotypical characters, and exposition that insults your intelligence. Nothing feels organic and it leaves nothing to the imagination despite being incredibly shallow.
>>136051179 Why did she have to get revived? Killing a character, but not really killing them because magic is the cheapest way of illiciting feels. Either kill the character or don't. Far too many movies do that shit.
It was a terrible adaption and basically ignored everything that made the books interesting
>Ignore that the majority of Howls "magic" is actually just technology from our modern world >Fantasy world isn't steampunk, it's medieval, which is why Howl can pass off modern tech as "magic" >Book Howl is a womanizing, misogynistic, sleezy, autistic, vain piece of shit that views himself as boss as fuck when he's a loser, basically the personification of /r/theredpill or other PUAs. (hilarious that the film Howl is actually how he views himself in the book) >Howl actually takes Sophie and Markl to our world and terrifies the shit out of them by taking them for a drive in a car and speeding all over the place. >Lots of Sophies character development cut especially the fact she's a witch (She doesn't realize this), the reason her hats sell so well is because she enchants them by singing her made up songs while working, also the old woman spell only lasted a few days, Sophie liked being old so much because she could do whatever the fuck she wanted, she actually just kept casting it on herself, which is why she turns young when becoming focused on something else. >Witch of the Waste is a genocidal psychopath in the book. It's completely hamfisted they "adopt" her in the movie (and its really where the movie starts falling apart)
I think in that film he wanted to do three things at once, Sophie's personal growth, the love story and the war story. And that didn't go well.
(funny how he basically couldn't do love stories aside from hinting at them, in the end. Kaze Tachinu is the most egregious example, he spat on everything he told about anime for decades with Nahoko and I'm not even sure he realized it.)
The only Ghibli movie that gets me genuinely mad is Grave of the Fireflies. And that is a rare thing altogether. I have seen movies so bad that in comparision to those Bay is motherfucking Sukorov, but that movie make me angry.
No, Takahata, a manipulative movie for making children feel guilty isn't okay. Like, at all.
It's mostly good*. But it's immoral, in a way the worst fake snuff porn will never be.
*=characters are (by choice) very generic and the worsening of the relationship with the aunt is a tiny bit choppy, anyway. Visuals are great though, probably better than Kaguya which feels kinda fake sometimes.
No. I don't give a shit that it shows the death of the mother and the children. Well, maybe after all it is a tiny bit more "let's see if we can do it" than anything for the mother, but still, not the problem.
(hell, it's not like Totoro didn't talk about it aloud, didn't it? And it's supposed to be this bright funny flick)
That movie was about making children feel guilty about their parents.
That's what Takahata said. Not me: the director said it was about making children think about their behaviour. Check those interviews.
It is a children's movie. They even did the whole Totoro/Grave thing dobule release mostly for schools.
And it's not a war film anyway (well, I guess you can say that Au Revoir Le Enfants is a war movie, but sounds pretty strange to me). Certainly it's not at all an anti-war film like most people outside of Japan think.
He's generic as hell. He has no interests, no personality traits really aside from not wanting to do anything (pretty unrealistically, actually: if he was a proud child of an officer he would've tried to). You can't even say he's confrontational or whatever with his aunt: there is no confrontation or escaping it. He's just a generic good brother.
Can someone explain the ending of the manga to me?
She spends the entirety of the manga talking about how nothing is evil and everyone can be saved, and then proceeds to blame everything on the smartest cube around and kill him thinking it would solve everything.
Moreover, she pretty much doomed humanity as soon as the pollution lightens up thanks to the poison forests.
How does this ending not contradict everything we were told before?
He got many details about the novel wrong and believes Takahata used the novel for ethically questionable purposes that exploited the novel's author. All in spite of the fact Nosaka and him being in agreement with each other and his documented understanding of the novel, which makes half of his argument fall apart.
I like how he states Seita is bland and has no character, but go on how to describe how he's distinguished by his pride and is just upset he didn't let go of it. He says "dialogue doesn't move the plot", but his discovery of his father being most likely dead is what pushes him, and thus Setsuko, further into an imaginary world - he's a kid who withdraws from difficult situations. You say if he was a proud child of an officer he would've tried to work, but he did react to that fact - it just wasn't in the way you wanted, apparently. There's nothing unrealistic about an immature kid in time of war or any other time. Actions drive the plot like how their mother's death changes the sibling's relationship earlier on as Seita acts as her guardian.
>there is no confrontation or escaping it.
That explains why he left and never came back.
>He's just a generic good brother.
Explains how he got his sister killed due to his personality flaws and hang ups.
Congratulations, you managed to miss the entire point of the story.
Nausicaa has spent almost the entire duration of the manga witnessing the destructive power of human technology wreaking havoc on nature and civilization both, up to and including inciting a massive ecological catastrophe that swallows up a massive portion of the Dorok principalities. She has been granted a vision of a future untainted by human intervention via her mind-meld with Selm and the forest, and seen that humankind is not yet ready to become responsible stewards of the planet again. What's more, she has become the surrogate mother of a literal god warrior that is so deadly that it leaks radiation and kills everything around it slowly.
To reintroduce advanced human technology into world so quickly after countless people have suffered so grievously from it, as well as seeing how powerful men like the Dorok emperor jealously guard the best of it (body-swapping, near immortality, telekinesis) for themselves and use it to leverage power over the ignorant masses, she decided put her faith in the ability of humankind to endure and adapt to the changing earth by their own means. To unleash the powers of the temple would be to recapitulate to the sins of the past, and be doomed to repeat them. Nausicaa uses the superweapon that ended civilization the first time (the god warrior) to obliterate its last will and testament, sealing the fate of humanity and condemning its people to be the true stewards of the fate, free from the shackles of the old world and its sins. Nausicaa knows that what she did could very well mean the death of humanity entirely, but she is willing to live by her horrible decision and let the chips fall where they may.
I'm referring directly to the act of murdering the cube god, despite her adamant desire to negotiate and find a peaceful path for everyone else, suddenly she doesn a 180 when it matters the most and goes straight to killing without even asking it if it could delay or come to a mutual understanding.
I get that sudden technological increase + foolish human nature = death, but it felt out of character that she immediately turns to violence right when understanding and comprehension could have made the biggest difference.
Also, a pivotal moment I think is when she realizes (in conversation with the cube? Selm?) that humanity already has adapted somewhat to the miasma as the breathing masks shouldn't really work unless some resistance to the poison had formed.
So banking on humans adapting to future change isn't unrealistic. Nausicaä believed in the present and hoped for the future. The past had only brought poison. I'm with her on destroying it rather than reviving it.
Its also worth pointing out that at the end of the manga the only people who have emerged from the Daikasho mostly intact are the wormhandlers, the people who have one of the closest bonds with the forest and were the most despised by the more "civilized" kingdoms of Dorok and Torumekia. Situated in a sort of halfway point between the forest people of Selm's tribe, who are in complete harmonious communion with the sea of corruption, and the agrarian dynasties that live outside it and wage war on nature, they are the ones who prove themselves fittest to fill the power vacuum left by the vastly weakened combatants in the war. The wormhandlers and forest people will likely be around long after Dorok, Torumekia, the Valley of the Wind, and all the other disparate human settlements situated on the edge of the forest are long gone. The wormhandlers see Nausicaa as their messiah, and act as her bodyguard during her march on Shuwa.. Whereas the god warrior is the grim spectre of the industrialized old world offering itself to her will out of a child-like imprinting on her, the wormhandlers are the vanguard of humanity's future, speeding its messiah on her way to seal away the legacy of the advanced civilizations that have tormented their own kind for as long as they have existed. Past and present collaborate to usher in the new.
>>136055365 The cube had invited the same cycle of struggle and death for it's secrets over the years. Finding out about the endgame of rebirthing old humanity to replace the current didn't really brighten her view of it. It had corrupted the idealistic young dorok emperor and he had seemed the best candidate yet still fell into the old patterns. She had to make a quick decision as her current power (ohmu) and herself only had limited time left alive (as she understood it at that moment). It wasn't taken lightly as she thinks both about what a monumental crime it is to kill all those unborn and how blood soaked her hands where before arriving at the crypt.
It is a powerful ending and her decision is a fitting culmination of her arc regardless of the reader agreeing with it.
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