The anime is dead, isn't it?
Let's get the most underrated show of the season a thread. Also Hagita is based.
Has there ever been a bigger bro than Suwa?
>Take Nen leaf test
>Turn out to be an emitter
Would you kill yourself?
ITT best girls from their respective series
How do you like your steaks?
Ippo 1151 is now out on mangastream.
Takamura brings up the fact that he does not want Ippo to get up Kamogawa's hopes only to fuck it up, because he believes that Ippo does not have what it takes to be a world champ. Ippo does not get it, and just say that he'll "try his best". Ippo is training after this conversation, thinking about what Takamura meant. He still cannot cross the line in the sand.
At the end of the chapter, Ippo spars against the world #10 in the Jr. Featherweight class (one below Ippo). Ippo is ranked #10 himself. Ippo gets floored after a few jabs.
Chapter 1152 (I'm doing these with help of google translate)
Everybody wonders why Ippo was not even an opponent to a Jr. Featherweight. Was Ippo not mentally prepared for it? No, that does not seem to be the case. Ippo (and Itagaki) think that it might have been the head armor that they used in the spars - Ippo thinks that he could not see properly because of it, and therefore fucked up his timing for the new dempsey.
Takamura disagrees, and says "he's broken. I thought Ippo only had problems in the mental aspect, and that it was something that he could overcome. But no, even apart from that, he has a problem with his body. Even before, he couldn't see Aoki's frog punch... he has problems with his sight. Either he has issues with his eyes, or with his brain."
Kamogawa thinks the same to himself, and the possibility of Ippo being punch drunk is first brought up. Kamogawa seems to blame himself for this, apologizing to Ippo in his monologue - he says that even if Ippo is a tough guy, he worried in the early days that Ippo will fuck his shit up if he gets punched so much. But he stopped worrying because Ippo was so tough, and seemingly unfazed... but Ippo is only human.
Kamogawa tells Yagi that Ippo might be punch drunk, and that he will force him to end his career if he is. punch drunkness can manifest in different ways, but it is something that canl deteriorate his sight. Kamogawa says that its not confirmed at this point, but that things look grim for Ippo. Yagi is shocked and says that Ippo always came back with his turnaround victories, and that he got punched a lot, and that that might have been costly.
Ippo, sitting at home, tries to draw a straight vertical line. He cant keep a straight line. He's startled by this, and wonder if these are remaining effects of the Gonzales fight. The next day, Ippo goes to Kamogawa to talk to him and Yagi, and he tells him that he has difficulties buttoning up his shirt, that his fingers tremble, that he has troubles walking straight, that he suddenly becomes sleepy from time to time, and that his memory is unreliable, and asks him if those are signs of being punch drunk
Soo, lets discuss this.
how fucked is ippo?
Well he sure is going to die after he gets the title. Of course might turn into nothing.
What's the anime that you really want to return your time?
I'm confused. Is this actually good or not? One hand some people say it's trash on purpose and is meant as satire to anime fans or some shit, and on the other some people say that it has a point to it and it's actually really good.
>inb4 just fucking google it
Where do you think I got conflicting ideas?
Hello again Fukkos
Ookami Shounen is getting translation again, and that means more cute Botan
An aggressively unpleasant all-CG rendering of a bestselling Japanese manga that may scrape by as a supplement to the canon, but fails on every level as a standalone film.
“But that’s what it’s like in the source material!” is a frequently used defense of subpar film adaptations, but here’s hoping Keiichi Sato and Yasushi Kawamura’s computer-generated “Gantz: O” represents a departure from the original “Gantz” comic (written by Hiroya Oku, adapted for screen by Tsutomu Kuroiwa). Otherwise it suggests strongly that all copies of the hugely popular manga should be shot into the sun. The film peddles an incoherent, paper-thin notion of heroism and a regressively gendered vision of an alien-monster-infested Japan, and while it’s possible that superfans might find it an acceptable addition to the canon and embrace its overtly video-game aesthetic, it seems unlikely to find much traction outside of the Japanese gaming/manga community. And those within it should really expect more, too.
The film opens mid-battle, as a young woman in a high-tech form-fitting catsuit cowers behind an overturned car in Tokyo’s Shibuya district. She is being menaced by a giant Orc-like monster — the irreconcilable clash between the fantasy aesthetic of the “Warcraft”-style creatures, the futurist sci-fi of heroes’ suits and weaponry, and the slick, contemporary locations is jarring from the off. The woman is Reika (voiced by Saori Hayami), who serves no narrative purpose except to have unfeasibly shiny, liquid hair and unfeasibly large breasts. Mystifyingly, the women’s combat suits appear to have the tensile strength to stop bullets and save the wearer from being crushed by giant troll-heads, but offer very little in the way of bosom support, resulting in a lot of localized jiggling.
Reika is saved by “teammate” Kurono (Yuki Kaji), who then determines to face the monster alone. “You don’t have to do it!” she wails. “Who else is there?” Kurono replies, and he’s right: There is no one around of the right sex and age bracket to make a viable hero. He kills it, but is also killed. Reika is sad, but her hair is great, and her breasts magnificent.
They are reluctant players in a game run by a large black orb that issues instructions and keeps score. Somehow, when you die (Reika was in a car accident, her ineffectual older teammate Suzuki, voiced by Shuichi Ikeda, had a stroke), you materialize, healed, in a featureless office where you meet your team, get your catsuit and get sent out against the clock to defeat a bunch of enemies. Fail and the whole team buys it. Succeed, and you accrue points which can be used to escape the game, upgrade your weaponry or resurrect a dead teammate (oops, there go the stakes!). But the dead Kurono was their leader, so it’s a good thing that in a Tokyo subway station, similarly strapping young male Kato (Daisuke Ono) gets viciously stabbed to death, and can be co-opted onto their team.
How the resurrections work, what happens to the dead bodies, how the players are chosen, what they do in between games, and who exactly they’re playing for remain deeply unfascinating mysteries. More fundamentally, the battles take place in real Japan and are reported on by the real news as unprecedented alien attacks. But the game has been going on a long time, so who or what did they fight before? And why have the players themselves, who are occasionally caught on camera, not been recognized and the game exposed? They can’t all have been so unlucky as to have had their sole close relative turn away from the television at the exact moment they were filmed katana-swording a big ugly beastie, can they? To think about “Gantz: O” at all is to overthink it.
The team are dispatched to Osaka, where they must face down not only myriad new monsters, including one who seems vanquished only for its eye to morph into a breast (which must be spectacular in 3D) as it takes the form of a giant naked woman made up of the writhing forms of hundreds of other naked headless women, they also face a rival Gantz team. But that does give Kato the chance to fall for Anzu (M.A.O), a romantically forward mother-of-one with a laser lasso weapon and a lovingly rendered thigh gap. While fighting monsters who are declared dead more times than cinema has been in 2016 (an argument for which ‘Gantz: O’ makes a compelling case), only to rise again with additional wings or horns or whatever, Kato still has time for the old boy-meets-girl, girl-dies, boy-wins-arcane-afterlife-game-and-uses-points-to-bring-her-back story.
The preposterous illogic, manufactured dilemmas, subterranean stakes, unearned sentimentality, and unquestioned sexism might be marginally more forgivable if “Gantz: O” looked good. But aside from some inventive creature design, the cheap, dead eyes and sterile plasticity of the CG humans suggests we’re no closer to bridging the uncanny valley than we were 15 years ago when the first all-CG “Final Fantasy” movie came out. No doubt the majority of the intended audience weren’t even born in 2001 and are accustomed to this visual style from their computer screens and console games. But this is supposed to be cinema, and if people are only as good as the art they consume, it’s a matter of some urgency to supply the teenage boys of today — the men of tomorrow — with something better than “Gantz: O,” a film in which its deemed OK, perhaps even witty, to have one of your two sole female characters referred to in the closing moments not by her name, but by her nickname: “Jugs.”
>Character is making a meal involving eggs
>Eggs are in the fridge
Is this chart right, /a/? What tier are you in?
>Lupin the Third
This chart is retarded but by it's definition I'm a 4. It's tier system isn't bad but the anime it lists next to those tiers make no sense.
"I LOVE YOU"
That's funny. I didn't know it could rain indoors.
Is this more melodramatic shit with mediocre character animation and shitty digital filters pasted over badly filtered photographs?
Could honestly forgive the aesthetics of this guy's movies as just not appealing to me personally, but the stories are always so mediocre and boring that there's just no way for me to get engaged. There are much better examples of engaging character dramas in anime (Trapeze is an amazing example of this).
Didn't see one, let's do this.
Wow. Was this really necessary?