How much value do you put into visual direction?
Some. I've dropped shows a few times because the art was really bad, but normally if the art in a show is just so-so that's okay.
Good visual style is always a huge plus for me watching something, though that doesn't necessarily have to be jacking off over sakuga and filters the entire episode.
A lot. especially when they can balance realistic, fantasy and surreal art throughout a show.
I really like images like this post more.
maybe something more than people standing and talking
sitting and talking
looking on the horizon and talking
a pictures from things that the cameras cuts to because people are talking
The direction is the worst part. Most of their shows are a bunch of headless monkeys trying to copypasta as many Shinbo cliches as possible. Only Bakemonogatari was consistently well directed.
I dunno why people always shit on Ping Pong, when it IS visually a masterpiece. Maybe the character designs are unconventional, but I seriously think it's insanely cool looking.
I've liked a lot of shit shows just because of their atmospheres.
I wouldn't say the art direction as a whole, but the atmosphere of a show is probably the most important thing to me.
Just look at the monogatari series, most of the city background is basically empty streets, but something about it makes me feel immersed in the anime, and this goes for a lot animes. I don't know why, but I like to say that a show's atmosphere is its "soul", something that most of the time is created by accident.
1. Atmosphere (animation quality and music/sound play into this)
3. Character designs
5. Character development
I agree with this to an extent. E.G. I'll never watch K-on, despite it looking good in motion, because the girls look like aliens, but I watched all of Punch Line because the 3D backgrounds were really good looking.
I tried making one for Star Driver too, though it's hard to find good still shots to use from all the action scenes.
Katanagatari was often very pretty but I agree they could have done a lot more to engage the viewer in some sequences. It had a very down-to-earth art style other than the character designs, though, so Hyouka-style diversions might have felt out-of-place.
Why not just look at pictures and webms if the art is most important then? I've always felt it was the combination of several elements that makes a show good, it seems silly to me to be dismissive about someone liking a different combination as if people are actually supposed to get the same thing out of any given media.
I've tried making rankings like this before, but I just can't do it. I tend to like shows based on what they're good at, rather than some kind of weighed average of everything. Some shows I like just because the animation and style are great, and others I like mostly because of the plot. Etc. etc.
If it's a show I like then it doesn't really matter and you're just a simpleton who judges books by their covers and can't see the beauty underneath if you disagree. If it's a show I don't like then visual direction is critical and I will mercilessly criticize any flaws I can find with them, no matter how minor, because the show is SHIT.
I think I speak for everyone here.
The only reason I would rewatch Hyouka is for these delights to the eye.
reason I would rewatch just a simpleton who judges books by their covers and can't see the beauty underneath if you disagree.I like what anime gives me If it's a show I don't like then visual direction is ut I just can't do it. I tend to like shows based on what they're good at, rather than some kind of weighed average of everything. Some shows I like just because the animation and style are great, and o nd I will mercilessly criticize any fl every kyoani work.
Not him, but the visuals is necessarily linked with the narrative. For example, a trippy dream sequence may be presented in a direction different from the other scenes. It's hard to appreciate that without the context.
By itself though, the webm would probably be a good piece to study.
Tamako Love Story is garbage. I legitimately believe that only people who have never been in any kind of relationship are capable of enjoying it.
The entire movie is one long, awkward confession. It drags in absolute nobody characters like that shy girl who Tamako befriended (seriously, who the fuck even is she?), and ends with the suggestion that Mochi-chan is going to fucking drop all of his filmmaking dreams just to fiddlefuck around making rice cakes the rest of his life.
Furthermore, it's not a fucking love story. The only reason that he and Tamako should get together is shoehorned in (hurrr muh mommas funeral) at the last minute. Other than that, they're just friends, and rather than actually have them complete a story arc that involves actual dating of any kind, the movie prefers instead to fucking dick around with WILL SHE?? WON'T SHE?? bullshit all the way until the very end.
For whatever reason, the showrunners decided to recycle the garbage SHES SECRETLY A PRINCESS plotline that they were smart enough to drop into a SHES SECRETLY IN LOVE abortion. Seriously, there's nothing different about the movie's plot to the dragged out, nonsensical decision Tamako makes about not being some random brown guy's bride in the series, except this time the overwhelmingly obvious fucking answer is yes, of course she's going to get with the self-insert because the movie needs to pander hard as it fucking can after the overall flop the series was.
If you actually enjoyed TLS, then you were pandered to, and it worked. You have little concept of what constitutes a compelling narrative within film. You stared at pretty flashing colors and random moe-pig perversions until the point when KyoAni gave you exactly what they knew you were too stupid to not want, at which point in time you loudly started clapping your hands and sobbing uncontrollably, you fucking philistine pieces of shit. Just like TLS, you are literal garbage that belongs in the fucking trash.
Last one I made, I was just trying to get shots that looked different than the usual so it's not that great.
Can we just talk for a second about how great and cute Kanna is?
I miss this kind of stuff in the later seasons. Yeah, I know a lot of it is pointless and disconnected from the narrative but a lot of it is actually meaningful and, fuck it, it looks great.
Yea I think that's the most disappointing thing about Monogatari lately. Nise was like SHAFT's high point in terms of animation and now they only have sparse sakuga in Nisekoi.
I was about to go make one of these out of Casshern Sins only to realize I deleted it when I ran out of storage space a while ago. I'm fucking retarded.
Guess I'll have to redownload it now. I'm sure it had some pretty spectacular looking shots.
I would argue that point. She's interested (inexplicably) in becoming president of the club, except she's scared of heights over 4 feet.
There, we've described the entirety of her character. She's shit, and you're worse. Into the trash you both go.
>I would argue that point. She's interested (inexplicably) in becoming president of the club, except she's scared of heights over 4 feet.
How is this even remotely related to the attention she pays to her friends? She could tell Midori was gay from a mile away just by seeing how she acted around Tamako, and she also knew how she was feeling in the film even though Midori's so secretive and acts so tough about it.
>She's interested (inexplicably) in becoming president of the club, except she's scared of heights over 4 feet.
Besides, how are these supposed to be mutually exclusive at all? She wants to be the club president because she's passionate about it (we know she can be very passionate about things because we know how she feels about carpentry) and she has an irrational fear. You're just grasping at straws.
I think you're reading too much into the show, unless you can show me literally anything conclusive that states otherwise.
No, anon, I don't take chinese cartoons seriously, so my personal feelings have nothing to do with my understanding of what makes a compelling fictional character. Maybe you should take a break from anime for a while.
There was at least one episode of Kill la Kill with great visual direction
>unless you can show me literally anything conclusive that states otherwise.
I get it. You're testing me to see how mad I'll get if you act this stupid. The evidence is in the show, I bet you didn't even watch it and are just shitposting. Don't expect more responses from me.
>gasping at straws
Let's state right now: she wants to be president, and she was scared by being higher than 4 feet or so.
You don't seem to understand what that phrase means. They are, of course, mutually exclusive, despite your complete inability to comprehend the concept of mutual exclusivity.
The point is that they are the only two personality traits we're given. Whether or not they interact with one another is irrelevant to this discussion (if you can call spitting truth at waifulords discussion).
I did watch it, which is why I'm frustrated with the direction of the show. K-On was great, and I felt Tamako was a poor followup. The "evidence" in the show is exactly what I stated (carpenter, president, heights, nothing else) and this bothers me as someone who takes interest in actual character development.
For shits and giggles, tell me what Shiori did for the plot after an entire episode of a single cour show was spent making friends with the MC. Anything?
I understand what good SOL is. It develops the characters together, as well as independently of one another. I'm not some DBZ faggot whining about SOL, and I imagine I've seen as much SOL anime as you have. Don't think for a second you're talking to someone beneath you, because your taste is shit and you worship a literal turd.
Please learn to speak english and then message me so that we can continue.
>you worship a literal turd.
when did I worship anything at all?
Sorry, it's hyperbolic in nature to describe your dedication to a shitty example of eastern media.
This was probably one of my least favorite episodes but at least it looked and sounded nice.
I'm glad that '11 goes through all the later arcs and I can appreciate that it never looks absolutely awful, but it's really visually boring compared to '99 with the exception of some climactic scenes.
Good visuals are the difference between many average series and good series. It's something that really stands out.
However, good visuals cannot save mediocre anime. Well, maybe it can if we're talking Redline levels.
Nice Seventh Seal homage too.
Yeah, don't get me wrong, I really liked '11. I think it's a good show, for the most part. But damn it can't even compare to what '99 does, visually.
For example, compare this:
I 100% disagree, the purple vomit is super off-putting, and that fight was thematically so much better in '99. This was the scene that really sold me on the old version.
I had bigger problems with its pacing when I watched it. Visual-wise I appreciate that they were able to maintain good animation quality throughout, but in general I'd agree the character designs, colours and such were kinda poor.
While there are instances where '11 looks nice, that pic's pretty sterile looking.
99fags are deluded. Madhouse had to stretch budget but 11's highlights are much better looking.
Not him but I think the best thing about it was keeping the quality of the art so consistently well drawn
I felt that it was lacking a lot though, felt very boring to watch due to the pacing, unimaginative direction, and colors.
A lot. Visual direction is the difference between if I'm going to constantly pause a show and go on /a/ or marathon a show in one sitting.
Yeah I agree on every point. It felt like they sacrificed the original's tone in favour of like, broadening the audience maybe? I'm not sure what they were going for. Maybe just blame sterile modern anime colours.
>You can't have a serious tone if the animation is laughably bad, it's immersion breaking.
This is the problem I had with Aria. The animation wasn't bad, but very dated compared to modern SoLs and I found it hard to feel immersed.
I haven't made it to Origination yet though
This and the episode where the king's servants nurtured him back to life were the only good ones, it felt like someone in the studio actually had a vision for what they wanted to do, all the other episodes felt very uninspired to me. It was like they never stopped directing a little kids show even when the events on-screen became too gruesome to keep on a day time-slot, it created a a dissonance in the show. Pre-teens would have been a better audience than elementary schoolers, and they must have known the direction the story would go so I'm still baffled by that decision.
Hinata is probably a better example since the animation is less good and it uses a lot of CG to great effect to allow for dynamic camera movements while still looking like anime and without look like shit.
I haven't actually read it so I can't comment. I just didn't want to assume that '99 had captured the manga's tone when I have no fucking clue what it actually is. If that's so, then awesome.
Madhouse is super diverse and has plenty of good looking shows, but also plenty of bland ones. Tatami Galaxy, for example, is one of my favourite shows. It looks fucking sweet. And then there's currently airing OPM which suffers from terrible backgrounds and colours (it more than makes up for it in other places though).
Am I forgetting something? Were the Werefin and King's re-birth episodes especially gore heavy? They were good because they had more thought put into the visuals and execution which most of the episodes didn't.
There is no such thing as "visual direction" you stupid knuckle draggers. How fucking hard is it to skim an e-book on cinematrography or illustration or photography or basic art and aesthetics? Fuck even a cursory wiki search would serve to add some actual content to these threads. How many times do you retards have to jump through these same hoops before you start to learn?
Not him, but I partially agree.
Atmosphere is basically a "byproduct" of all the other elements (animation, sound, music, characters behavior, world construction, general direction, etc) combined. If one of these elements is weak, the final atmosphere will be weaker, but it doesn't necessarily it will be bad, if the all the other elements make up for it, something good can come out of it.
Visually, you mean? Because 2011 is the much better show. Cliches and derivative plot/characters, inconsistent characterizations, cheap fillers, hammy soap opera-ish angst, cheap abuse of asspulls - a lot of these are what 1999 adaptation is guilty of.
This. Though 11' has a FAR better score, by several miles. Plus a few of the VA's are much better, Netero is perfect (till rip) as is Hisoka and Killua at least doesn't sound like a girl. The thing I'm liking the most watching 99' now myself is the filler surprisingly enough, I think the thing Togashi is the worst at is making his worlds feel lived in and believable and the filler actually accomplishes this to some extent.
I actually like '99s score more. I really liked '11s too, and they're both good, but I prefer the feeling '99 gives. I can't remember the '11 VAs well but I remember having no problems with them.
I'll read it one of these days, I swear. I loved the hell out of the show so I honestly have no excuses for being a filthy secondary at this point.
There's just different feelings you get when watching digital or cel animation.
>I actually like '99s score more.
Maybe because you watched it first. It's literally some of the most bland shit I have ever heard tbqh. Also I meant 11' had a few better VA's then 99'.
You can't skip them. They altered canon content with really bad filler.
99: Gon felt victimized and losing his shit in dramatized fashion after being punch by Hisoka.
Manga/2011: Gon sulked in silent for his bruised ego, a much more dignified character.
99: Gon won't lie and cheat (didn't steal Ponzu's badge, thus omitted his /sneaky nature)
Manga/2011: Gon displayed his bargaining skills and sneaky nature by stealing Ponzu's badge.
The latter characterization is one that'd impressed Killua and other people who met Gon and get awestruck by his lack of morality but charismatic nature.
Really? I think it was one of the remakes that actually did the original some justice.
I don't understand how people can praise the animation in Decode when it's so sloppy. A lot of the so-called "sakuga" in the show tries to have fluid movement at the expense of good drawings and come across as being amateur work in the end.
>11' has a FAR better score
I don't hate '11 but it has one of the worst soundtracks I've ever heard. Probably it's second biggest detriment. '11 has mostly better voice actors, especially Megumi Han who really impressed, but Hisoka and Leoreo are much worse.
>The filler is what made '99 unwatchable garbage.
There was definitely some pretty awful filler but it was usually skippable and it also had Hisoka and Tonpa as room mates once which is a more entertaining premise than anything Togashi ever cooked up.
>mfw I never watched HxH
And at this point I really don't give a fuck
>it was usually skippable
No it wasn't. Furuhashi is infamous for shitting over every manga he adapts.
Killua started out angsyru, cold and distant from Gon (Gon introduced himself first) and didn't know the concept of friendship. His edgy expression screaming "he is a killer" is Naruto-tier writing.
Killua is a cheerful and normal appearing, came to say hi to Gon and introduce himself. No one can tell Killua has issues at first (Leorio thought he's just some spoiled brat) and Gon commented on how Killua doesn't look like a killer at all.
Those are two VERY different starting characterizations. 1999 took the cliche "emo" portrayal, while in the manga/2011, Killua's nature only appeared in glimpses where it needs to be. There's NO learning curve for Killua in '99, reducing the impact of his development.
I don't know, from the discussions I'm seeing in here I got the impression that both of them are shit.
But I guess you faggots are just shitposting to piss off the other part.
I watched HxH 99 twice and it was fun both times.
I watched 2011 once and I was already complaining back in 2011 in threads on the first couple episodes.
It was shit from the start, compared to 99, and it stayed pretty shitty until the end. Parts of election arc were good, and I think the episode where Gon kills Neferpitou was good, but the rest was pretty crap/worse than 99. But it follows the manga closely, so secondaries of course will think it is good, since they don't even realize that it ruins several parts of the manga (because even with a copy-paste job, they manage to fuck up important scenes).
99 had obnoxious filler that completely screwed with the characterization and destroyed the eccentric tone by turning everything into a soap opera claustrophobic shit.
Non-stealing, flawless Leorio-helping Gon, emo morality-tormented Killua were no "vision", they
were just lazy writing. Perhaps Furuhashi should write his own series instead of crapping on Togashi's.
Madhouse has a better understanding and love for the source material.
yeah, cutting out a bunch of the beginning (because fuck introducing characters), censoring the whole first arc, completely ruining the palace invasion and failing to convey character motivations is evident of a "better understanding and love for the source material"
no one can be this delusional (if they read the manga).
The best part is the epic maymay of "the anime looks better because of Togashi's unfinished pages" that leddit loves
'99 making Killua needlessly angsty when the point was that he didn't even realize how shit his life was until he met Gon was one of my biggest issues with '99. But I still think '99 is vastly superior in almost every aspect, and '11's positives are not nearly as numerous as its negatives. Weirdly enough, the series flipped how they handled the Zoldycks, '99 made their scenes somewhat humorous and gave them an Addam's Family vibe while '11 made them too serious and it fell flat for me when his mom looks like fucking robo-Merry Poppins.
11 is an accurate adaptation of Togashi's writing, which is what people are getting into HxH for. If you want good visuals there are plenty of series doing it better than '99.
>Togashi's writing isn't very good though.
Oh boy here we go
International Securities Identification Number
Spaghetti Araragi was in classic SZS style. I miss these OPs.
Someone posted a collage of Ant arc shots in one of these threads, all of which were standard center shots.
Someone wasted their time putting that together in an attempt to impress.
I remember that, it was embarrassing. To be fair though, the ant arc did start to explore art direction more than the previous arcs and I remember someone putting together a collage that looked decent while it was airing. It can't save the mediocre direction and questionable color choices though.
A great deal more than most people think. Competent and artistically coherent visual direction can really make a huge difference and add a lot. It's one of the most powerful tools a studio has in making their work. KyoAni in particular has a fantastic eye for lighting and camerawork, plus building atmosphere and detail through their visual direction alone. Hyouka's festival arc is one of the most well directed in all of anime, they absolutely nail the festival atmosphere and really make it feel busy and energetic and exciting and full of life. It really feels immersive and real, like you're actually there and there is a whole world in the background with things going on that have nothing to do with the small slice that is related to the main story and characters. It's actually incredible and I feel like a lot of people don't fully appreciate the artistic skill involved.
I tried to go through the first Tsuioku-hen OVA and find shots I thought were cool.
I haven't seen it, sorry.
But when you're dealing with something as intensely visual as animation, no tool is more effective at telling a story than the image. Relying on dialogue to tell the story is bad.
I can't say you're completely wrong, but you need to get how Ryouchimo does action. Look at two other series where his mark is clear: Noein and Yozakura Quartet Hana. He ignores the typical crisp on-model action of anime, stretching and blurring the action to give a sense of force and speed. While it's "sloppy" in avoiding precise motion, there's a deliberate choice of style over realism.
As a story? Hell no.
As an animation? Not shit, but a poor medium choice.
Soon Shaft will release a high budget magical girls series.
I really don't agree with this, it's far too limiting on an entire medium.
Sometimes the visuals can enhance the dialogue in ways that books can't, which is a perfectly valid way of using the visual capability of anime/film without making a fundamentally visual creation.
Millennium Actress is what first comes to mind. While the audio alone is basically an interview, having the visuals show the actress in the roles discussed gives the viewer an insider's perspective on what the actress and interviewer are thinking. What is shown is an irremovable part of the whole experience.
Not all dialogue is equal though, there's a difference between having a bullet point of plot points explained and having the story told naturally through dialogue
You're being far too limiting
Dialogue is not inherently bad. I'm not saying that the quality goes down for every word said.
But look at something like Barry Lyndon: while there is a narrator (since it was based on a book), the most important parts of the film are without words, and shown, because it's much more powerful. You can say that Barry's ruining his life with alcohol and depression, but it's not nearly as powerful as showing him in the throes of it. Dialogue as storytelling is inherently weaker than the image.
As an addendum:
When looking at this picture, you, the viewer, come to realize things yourself. You see everything in the frame as it was meticulously placed there:
The fallen over chair, the empty, strewn bottles, Barry's posture, the others, all add up to tell more in one frame than dialogue could in scenes.
How would you communicate, for example, somebody ruining his life from alcoholism but being in denial about it with his friends and family, and believing his condition is normal?
A lot of it comes down to the majority of high-profile anime being adapted from manga or LN. LNs rely on dialogue more than actions, and manga on stills more than motion. So you have a propensity for dramatic posing with soul-filled monologues, rather than emotions playing across a face with a change in posture.
This anon is correct. The aim should always be to use all the tools at your disposal in a way that works together to create a cohesive product; Not just visuals, that includes the story and the dialogue too, as well as music, theme, and other things. All of them together enhance each other to build a more powerful overall atmosphere. Like take Hyouka, it isn't as great as it is just because the visual are good. What puts it above and beyond is the way the art and music and stories and characters and the themes presented all compliment each other perfectly. The art enhances the dialogue and storytelling, it matches the themes and tone of the series, it's great in it's own right as well, and it itself is enhanced by the classical music score just as much. But in a vacuum it wouldn't stand up nearly as well. Or Bakemonogatari. All the elements on their own are weak, but together they form a really well developed package. The stories are silly, but the way they are presented though the visuals and direction make them interesting, the exposition and dialogue is way longer than it needs to be and pretty LN-tier, but the fun way Shaft uses the visuals to compliment the characters talking and further the quirky tone of the series through the art makes them enjoyable to listen to, and the animation quality itself is low-budget and pretty slideshow-tier and filled with cg, but it matches so well with the rest of the series elements that it just works, way better than any of the later seasons despite higher technical quality in Nise.
That's not always the case. I've read in some movies where the director notices things that are brilliant during or after filming. Live action filming is more unpredictable compared to animating.
Not him, but I would do the classic bar setting where the drunk guy tries to stand straight and does some patting on the back gestures to his friends. Or maybe something like Old Boy's opening scene. It doesn't have to be restricted to one scene either.
You could just as easily convey those things using dialogue too though. Not by saying "Oh I'm so sad and drunk all the time" but by using the way a character speaks and the words they choose to say things that they don't.
Again, you're oversimplifying the uses that dialogue can have.
This is why I see video games as incredibly hard medium to create for because not only do you have to do visuals, themes, tones, music, and all that stuff like in cartoons and anime, but you also have to factor in player interaction and all the kinks that come with it.
Walk through a day's highlights.
Show them waking up with a swig of liquor, clearing the previous night's bottles to make room for breakfast, pulling a bottle of hangover medicine from a large stock - never losing the glum squint they woke up with. As soon as they walk out the door, they're suddenly smiling happily, and go through the day with that pulled expression. During lunch, they steal down a flask they'd secretly brought along. Etc.
It shows more than a moment, but a lifestyle.
The problem with video games is that those things are all considered less important then gameplay. So rather than an experience with a different dimension added you get a watered down experience that serves as a background to the actual experience.
Also it's much more difficult and expensive to portray subtle body language and facial expression in animation than live action, since the actors will automatically fill in all those little details if they're good. In animation you actually have to do a lot of subtle changes in a lot more frames rather than keeping they characters still aside from mouths and blinking or basic movements. KyoAni is one of the only studios that really does this well and it does show. Hibike wouldn't have been nearly as good if another studio animated it because of that.
I shouldn't say all dialogue is terrible. I just that it's so often used to expose things because it's easier. You're right, dialogue can be used to great effect when used judiciously and with talent. Some of my favorite movies have very well written dialogue that fit in with the story they're telling, and it's a component of storytelling that has to be used with other factors to create a truly good final product. But the image tells a story that's more concise, more effective, realer, and feels less like a story is being directly told to you. The final shot of The Godfather, where the door closes between Micheal and Kay, serves to perfectly show the fact that Micheal's transition to evil, black hearted Don is complete, by the literal shutting of her out, and it does so in just seconds.
Well, of course. But it all boils down to execution and whether it works or not. All the things have to work together in harmony to create an incredible product and gameplay is just part of the equation.
Is that necessarily more effective than, for example, a single conversation with his mother, with increasing tension in her voice when certain topics come up, and the alcoholic acting dismissive and unworried in these moments? In fact, his alcoholism could be communicated without actually showing him drinking a single time in this way.
My point is really that film and anime aren't purely visual mediums and that dialogue, audio and visuals can (and should) all be used together.
If dialogue wasn't important we would have a lot more silent films than we do
Of course it all depends on what the dialogue is being used for. A lot of anime nowadays consists of light novel adaptations, which almost always favor exposition dumps instead of actual dialogue in order to get ideas across.
>I don't think video games are a lost cause, far from it, but they're super immature.
I think we can already tell just by what people write about when it concerns video games. I'd like to think the same process was going on back in the 20s and 30s with film but at a much faster pace.
I think that video games are very suitable for non-verbal storytelling. Like, a game can give you a world to explore and interact with, and you can take in that world and figure out the story being told by that world without the game having to actually tell you it. Of course, verbal or written storytelling can also supplement it and provide a more detailed underpinning to flesh out the world as well. Of course, not everyone is going to come away with the same story, but that could also be the point.
Maybe he drinks moderately, but the mother is staunchly opposed to drinking. Showing the objective truth of his life lets the viewer see the situation without the lens of another character's personality.
And it's certainly more effective when it comes to translating the story between audiences.
It's off topic so I won't go too deep into it, but they're in a weird place. The "video" stuff is already an established art and the "game" part semantically isn't art, therefore it's a matter of applying the "game", the interactivity, in a way that enhances but never detracts from the rest. Games like the Souls series, or Ico (examples of the top of my head) are great at visual storytelling, but a problem can occur when, for example, the player gets stuck on a certain puzzle or something. The interactivity then pulls you out of the art part. Same kinda thing could happen when the player wants to go around trying to break stuff rather than play they game as it was meant to be played. I don't think these elements are "necessarily" opposed to each other, but right now I see more conflict between artistic and game aspects than synthesis. Interesting topic though.
But showing the objective truth can be less compelling than showing the difference in perspective between characters. In fact, it can be used to set up a daily highlight scene showing his habits. The impact is strengthened by the fact that his perspective is shown to be so skewed from reality.
In your example, I feel that the topic gets reduced in importance. I mean, you can replace it with any other vice (smoking, whoring, etc.) and it will still carry the same weight.
But the dialogue can point to serious problems in his life caused by his alcoholism. And maybe, in this case, it's not the specific vice that's the problem but rather his addictive personality and ability to rationalize the consequences? Maybe alcoholism is just a way that his destructive mindset is being expressed? This kind of subtlety is probably more effectively communicated through dialogue.
You can find good visuals in pretty much every single piece of animation.
For some reason I've always liked this shot.
It's no bake, but Hana has some great visuals.
You're right, actually. I think the colors are good though.
I see. Well, if it's not alcoholism per se, but the ability to rationalize a negative behavior, I would probably juxtapose positive consequences with negative ones.
For example, a meek husband goes home drunk despite the promise not to drink. He finds his wife hassled by a loan shark, gets the courage to confront the loan shark, but gets reprimanded by his wife for drinking in spite of the manly act enabled by alcohol.
In any case, I'm not against dialogue itself. It's when it becomes the sole vehicle for worldbuilding and philosophical reflection that irks me. I think Spice & Wolf is a good example of a series with good and bad use of dialogue.
The only reason I kept watching Zankyou no Terror is because I liked the visuals and atmosphere. But I've also watched shows with not so great or mediocre visuals since I liked the characters or story enough.
>In any case, I'm not against dialogue itself. It's when it becomes the sole vehicle for worldbuilding and philosophical reflection that irks me.
I agree with that. The only times I can appreciate shows where characters spout philosophical dialogue is when that dialogue serves to teach you more about the characters' perspective rather than be an explicit lesson for the viewer. And in terms of worldbuilding I think exposition dumps are really clumsy and way too commonly used.
The stand-off in Jigen Daisuke no Bohyo was stunning in that aspect. The whole movie is well directed but that scene was so fucking spaghetti western, it was really cool.
Not so much talking about the movies themselves but I really liked how the 7th film of the Kara no Kyoukai movies had an opening CG scene that manages to convey that toxic/creepy atmosphere that serves as a huge foreshadowing of the main antagonist in the film.
Everyone praises KnK but it was pretty garbage as far as I'm concerned. It might be technically impressive but in terms of aesthetics I think a typical KyoAni show looks better. Ufotable can make technically high quality animation but most of their directors don't really have the same artistic eye to make use of it. I will say the second movie was exceptional though, the atmospheric dread and mystery of the whole setup was handled really well and the visual direction was strong too. That director should have done the whole series.
As you can clearly and literally see from my 3x3: alot desu
I liked them. Much better than anything else that Type-Moon/Ufotable has offered so far, which is kinda depressing if you think about how it's their first collab work. I do agree about the directors though, and I think that only served to cripple what seemed like a story that was aiming for a certain creative vision. That said, I thought it had its moments across the different films.
Yeah, really got the nail on the head. Pacing and experience are almost impossible to control. You couldn't have a "30 seconds of Rei and Asuka standing silently in an elevator" kind of moment in a video game. The player would be too busy trying to jump on an NPC's head or spinning around in circles or any number of dumb things. They probably wouldn't even know any storytelling was going on. Any impact such an event could have would be totally lost as a result.
Of course, sure, even in a non-interactive medium you can't assure that someone is going to feel the emotion you're trying to convey. Someone could find that elevator scene boring as hell or emotionally empty. They could be just playing around on their phone or distracted. But in the former case, it's the story that's putting them off. It doesn't resonate with them, but they're not failing to see it and experience it. In the latter case, the distraction came from an external source.
It's just something about how the medium itself stands to remove you from the story it's presenting that I find problematic with games. I'm not in the "games can't be art" camp, but in the hundreds of games I've played, there's only been one (maybe two) that I thought could not work for any other medium.
This is just from what I had on me, I'm sure if I rewatched it I could pick through loads more good shots.
Visual direction itself doesn't make me want to watch a show. Not even the animation can make me watch something and actually sit through the whole thing. What important to me is the character. I need to like the character especially the MC. I don't care if he is good or evil but I need to like the character. Watching shows with amazing production value without any good character is just like watching random people doing nothing. I don't care and you shouldn't either.
The transition from silent to talkies was actually hotly contested by the "auteurs" of that time. Same happened with color pictures.
It's also been happening with digital film lately.
The studios didn't care about "art" as much and forced the talkie on creators. The few poor saps that culdn't get with the times fell into obscurity. Hell, that transition killed black cinema for the better part of at least 40 years
I'm a sucker for artsy stuff
I've yet to see anything close to matching Angel's Egg in terms of visual direction.
Less important than writing quality, but more important than animation quality.
Something can that isn't that well animated can be saved by good visual direction, while something that is incredibly well animated can be ruined by shitty visual direction.
Outta the way casuals
That actually looks pretty cool and unique. Would you consider spoonfeeding to save me the effort of cutting one of those frames out in photoshop and reverse image searching it?
I actually think Nisekoi is their best work since Bake. Not only are there a lot of nice shots and backgrounds, but it feels like they finally got back to the over the top quirky style they used back then with tons of hilarious reaction faces and creative animation.
What tools you are. There is no plus to watching a show for visuals, I can't enjoy those meaningless hedonistic pursuits as a disabled, conditioned and weakened one in the rat race, such as yourselves would. I know that you are a sheep and find this strange since you validate yourself like this, but please, disappear. Your existences are worthless and embarrassing for humankind.
I don't recall. The thing about Nisekoi is that the actual plot has zero substance of any kind, it's just a collection of every harem trope with no progression or purpose. But Shaft is aware of that and for some reason decided to pour a ton of love and creativity into making a really fun product out of it anyway, and actually succeeded for the most part, but it can't be taken seriously in any way.
I think Kaiba is a good example of this. The visuals are often very relevant to the story.
Especially the ending when shit is falling apart.
Oshii was extremly good at this without being gimmicky.
This distant shoot is a prime example of providing the action scene a sense of scale. So "simple", so effective.
Is true though.
Also I hate how much KyoAni overuse the DoF filter in their recent anime.
You can (and will) talk shit about Nardo, but episode 82 was amazing
That's one of my favorite scenes in the 199 version, this is one of my favorites in the 2011 version.
Cine-grids are cancer. I can literally pick a Ninja Slayer episode, screencap the cool shots and fool people into thinking it isn't the second coming of Inferno Cop. Cheerypicking "good shots" has no merit or value.
Probably the best SoL animation I've ever seen. Looking out for a good deal on the BD on Black Friday.
>but it has one of the worst soundtracks I've ever heard
Please tell me this is a joke. The only problem I had with the soundtrack is the disgusting overuse of "The puppeteer" track. It was fucking awesome the first time it played when pitou saw Kite and the boys, but after that it just became fucking annoying every time I heard it.
Otherwise there were several memorable tracks such as Hegemony of the Food Chain, Riot, Last Mission, Legend of the Martial Artist, Mystic Land, Rasetsu, Restriction and Pledge, and the Hyori Ittai Piano version.
The whole time I watched the 1999 version, I don't think there was a single track that stood out to me. It honestly felt like there were only 3 or 4 tracks throughout the whole thing, although that isn't to say the direction was bad, it was actual rather good.
Fuck, are you me?
These are exactly my thoughts (especially the monogatari part).
Not him but he probably meant that the soundtrack usage was awful. The soundtrack overall is very good.
>I don't think there was a single track that stood out to me
I only said that because usually when you say soundtrack, it means the songs itself, but idk. Also, I really fucking dig that Zoldyck theme now that I'm listening to it, thanks anon.
>Also, I really fucking dig that Zoldyck theme now that I'm listening to it, thanks anon.
Kaguya was absurdly beautiful. Everything was filled with wonder.
Also damn that ost