What made it so good lads? Also S2 when?
Because it doesn't have flaws? Story-wise it's very simple. It's still the best anime of 2014 though simply because it used themes most anime don't use (people working, the stress that come with it, the relief when everything goes well, etc). Also, being about adults lives make it more relatable since most of us (and the nips buying BDs) are adults now.
What? They act exactely like 20 year-old girls do in Japan. Also, acting like a teen in the beggining of your adult life is understandable since you was acting like a teen some years ago, your mind doesn't change from a day to another.
Did you watch the show? There was fucking loads of drama.
I think a big aspect (for me anyway) was the fact that the main characters were all at early career stages. Most of us here are around that point in life, so the relatability factor was pretty huge. It's easy to empathize with the themes in the show - not knowing your place, unsure what you want to do etc as a 20-something year old. Same reason a lot of people like HnC, I think.
Third best bako.
The Oregairu guy? I never realized it, but now I can totally see it.
The 5 girls weren't the main focus but the story of the animation studio. Other characters shined. Although you could argue that some characters didn't get enough screen-time or development (Mii and Rii).
Make way, best girl coming through.
Arupin, in her non idol attire. Dem hips
Left to right:
Yui, Yukino, Komachi, Saki, Iroha
Red-hair genki with hairbun, black-hair shy with twintails, green-hair tomboy with standing-up tuft of hair, blue-hair slut, caramel-hair go-getter
I love this image because of how dead her eyes are. She didn't want to get married, she just wanted to write anime and research and hang out with her friends. Now her life is over, and she has to spend the rest of her days at home raising children. I wish there were like images for the rest of the Bakos, they seem so uninterested in men which makes the suffering extra tasty.
From Shirobako to HARUCHIKA.
From NNA to GLASSLIP.
Why do PA works do this to themselves?
I want to make Zuka a single mother and end her promising voice acting career!
There's going to be suffering but not from her.
>What made it so good lads?
A lot of stuff, we had a lot of discussions when it was airing, and then a lot more after it finished, no need to keep repiting ourselfs.
>Also S2 when?
Is this a serious question?
Not when the husband goes to work and she has to raise child after child. Her friends will leave her behind and she'll lost all her motivation.
I'm getting a stiffy just imagining it.
Your suffering boner ends here
The guys were arguably as good as the girls
>set it apart
they were high quality?
I came up with a theory though. In utawaremono I find the girls cuter because they have personality and a place in the world, and you'll see old men on screen and stuff. I think the striking contrast even within the show lets you appreciate how cute they are because more consideration of the plot is involved. The girls seem more 'real' and thus you want them more since they are less unreal yet still unreal.
Like Amagami girls. Mundane yet appealing character design, simple plot and simple MC.
The main girls were honestly not much of a draw for me. They were fine, but I liked most of the other characters better, and generally I liked the cast as a whole rather than as individuals. My favorite character was a man too.
Good characters with understandable issues in life. Makes you think about your life (I know it did for me)
Original themes that were fully developed during 2 cours, and characters grew on you (best examples are Tarou and Hiraoka), so much that you remember them all by the end of the series, despite having one of the largest (if not THE largest) cast of all-time.
It allowed for viewer selection because NEET scum were sure to have a seizure upon seeing a working environment.
Zero pandering. Or rather, it was an "anime lover" pandering with a nice fan-service that took the form of famous anime or directors references.
Lots of emotional content that never veered on melodrama.
All in all, one of the best anime. All those who hated are either "MANime" ADHD idiots who cannot follow anything if there is no action, NEET scum that should be purged from the world or contrarian idiots.
>What made it so good lads?
It was made with passion. It's something they truly cared about.
Due to its autobiographical nature they understood the subject matter deeply, including all the hypocrisy, delusional, and general shittiness which exist in the world of anime production. But they're also illustrating why they stay in the business, in a really profound way. They're showing how it's about individual people, and it's about art, and it's about legacy.
All of this means there's an honesty in the characters which you don't usually see in anime. They're putting themselves on screen, warts and all. Even when the characters are acting cartoony, it's to illustrate their own naivete, or their own hubris, or their struggles with themselves. Shirobako isn't just a beautiful package, lovingly composed and executed. It's filled with the kind of truth that lets you see right through people. Even if it's not technically accurate, even if the characters are over-the-top, almost parodies of themselves, they successfully communicate what's in the hearts of these people. The urge to leave some kind of mark, the many times when everything is hopeless, the legacy of art which always comes back to remind them why they carry on.
Im fucking plying
In s2, Aoi will finally give in to her lolicon urges, push Erika onto the work desk and take her right there.
Midori and Misa will move in with each other.
Zuka, Ai and Ema have cosplay sex every Friday. At one point, Zuka pretends to be an Idol giving sexual favors to Producer Ai and Ema.
I'm gonna be one of those guys who says it doesn't need a second season. I can't imagine it doing anything other than overstaying its welcome. What more could they have to say? Shirobako was basically perfect. It's understandable that you'd want to spend more time with these characters, but wasn't the ending perfect? All the characters are resolved in a pretty satisfying way. Aoi has pretty much figured out the answer to her question of what she wants to do, Zuka
finally got her foot in the door, all on her own,Diesel is on the road to becoming a writer, Misa has made her choice and is better off for it, Ema has gotten to the point where she feels secure... Their arcs are all pretty much resolved.
I think there are directions you could go in with a second season that would make things interesting. You could really dive into the artistic process, talk about what it takes to make something great, with Diesel sort of as the lead there. Like a Whisper of The Heart kind of thing. It would be a very different show, but I'd certainly watch.
>They actually animated that fucking horse sequence, at the cost of an ending to the first arc, and it looks great
>Meanwhile the rest of Exodus! looks fucking awful, judging by the first episode
Single motherhood and poverty are like nachos and beer. They just go together.
I want to burden Ema economically and emotionally with debt and cloying neediness. I want to gamble her money away on Pachinko, show up banging on her door at 4 AM drunk and play with her feelings until it becomes a serious obstacle to her career. I want to pray on her meekness, her inability to assert herself and her trusting, naive empathy to ruin her life as an emotional parasite.
Her friends will never allow this to happen
Not as frustrating as never getting 3rd Aerial Girls Squad.
>Arupin is actually a christmas cake
>single woman living alone in a 1-room apartment
No child has passed through those tight, unsullied loins. Her one passion married someone else without ever giving her neglected, puffy privates the attention they so desperately crave.
Oh of course. I thought Aoi's sister was super endearing and I hope she find some kind of happiness in her life. Do you think she'll ever find someone to love and love her, or will she end up that old single woman married to her dead-end career? Do you think she could find a way to be happy and satisfied with her life even without someone else to share it with?
I'll keep this thread bumped long enough for you to deliver, animator anon.
No wonder we get so many shitty animations these days.
One strange thing about the show was how many characters were single, there were a grand total of maybe 5 people that have been married. It's okay for the main girls and the younger employees, but it's strange on some of the older ones like gothic lolita.
Is this a subtle commentary on Japanese culture?
I don't think it's a commentary so much as it is just a representation of reality.
Being aging and single as a normal person is one of the worst things. Your fulltime career takes up most, if not all, of your spare time but rarely affords you enough income to support another dependent, which makes you afraid to take the risk with someone because of the financial concerns and strings attached. You don't have the time to really look for someone and don't have the energy after each long day at work to attend all the sort of social gatherings you used to as a late teen/ early-20. You find yourself slowing down, having more and more difficulty connecting with younger people that constitute the majority of single-lookers anywhere you go.
What's worse, all your friends, who you barely ever get to talk to to because they're outside of the immediate environment of the job that takes all of your time, are all somehow getting married, and none of them can offer you any more advice than just "the right person will find you." None of the people in your work environment can offer advice because they're split evenly by people who will most certainly die alone, and those who've been married 20 years and have no idea how the dating world of today works. Both of these 2 groups are much more alike to yourself than you care to admit, but neither are helpful and you're getting antsy waiting for "the one" that may just never burst their way into your tired, boring life.
You;re trapped. Trapped by celibacy. Trapped by work, trapped by being single; trapped by being old, but not old enough to be old; trapped by being too old to be young, but still being young. Too old to know the way out, too young to have already found it, and with nobody to help you. All the friends your age are images of what you could be like if you were older and happier, all your co-workers are images of what you used to be when you were young and stupid (and you hate it) or what you'll become.
I think it might have been more of an issue with showing the side characters beyond what they do in the anime industry. I'll give you the main cast, since we see plenty of them, but most characters were only shown at work. Whether they were single or not didn't come into play.
It was a nice touch for the characters that were hinted or shown as married. The old guy in particular.
This is something, right?
The key to Shirobako's success was the empty feeling that the characters were trying to fight by putting their hearts into their work. If they had been in relationships, they would be finding fulfillment in that aspect of their lives, so their struggles in the anime industry wouldn't have been as meaningful to them, and therefore, to us.
I also don't think this is culture-specific, but rather a symptom of being an adult in the working world in general.
If you ask me, arranged marriages were a concept ahead of their time. I'm sure lots of single 30-somethings would kill if all their relationship woes and marriage anxieties could be solved all at once by their parents finding a nice, well-to-do suitor for you. Doing it on your own is just a whole bag of worms. It's scary, it's confusing, it's frustrating and it's a waste of time you just don't have energy for while you're busy making something of yourself in the world.
I work in flash of my own choosing. I can't help it, it's what I've been using for the last 10 years or so, and I can't get the hang of things like Toon Boom. Maybe I'll practice other programs when I have more free time.
To show that following your dreams leads to an overall better life.
>yfw none of the voice actress of the main girls got any major voice roles since shirobako.
Why was Misa's character arc so short when her experience is the most relatable to young people who actually have a job?
Remember that this chart is super misleading.
The most important piece of information here is the "A-list" before "voice actor." There are plenty of successful voice actors who don't make nearly that much, and plenty of "A-list" directors and animators who make a lot more than what is represented here. If the voice actor column were some kind of average across all voice actors working some minimum amount of hours or something (admittedly a complex proposition to get right), then it would be much more reasonable. The way the voice actor figure was chosen can only be called intentionally misleading.
Also keep in mind that the Animator figure is probably averaged across a ton of people who are working mostly part-time.
A voice actress is a multi-industry asset. The A-lists are basically celebrities comparable to idols, but much less restricted. They make physical appearances, do signings in stores, perform at concerts, sing character songs, do drama CDs, etc.
Their job involves so much more than just voicing characters in 12-episode cartoons. They are the face and voice of an entire continuum of multimedia franchises that are each worth millions.
An animators work is noble and valuable, but they don't have an image that is marketable or nearly as valuable as that 3d throat that every fan wants to smother in their gentials or masturbate while listening to.
Can you performance dialogue and musical vocal in japanese in an extremely cute little-girl voice? Does your performing voice have a unique character to it that maps easily onto an archetype that's valuable but not yet fulfilled by the extended cast of idolmaster?
I have to assume that anybody who actually thinks Shirobako was not good is trolling. Not liking it is fine, but it's obviously good. It exudes quality. The story, the characters, the dialog, the art, the production, they're all really strong. If you don't like Shirobako then it's most likely because you just don't like light-hearted dramedy with a good helping of SoL. That's just not your thing. It's definitely not because it's bad.
Young males are voiced almost exclusively by women.
It's easier to find a 20-30 something lady with professional training and years of experience (not even to mention actual talent) to just pitch their voice to sound like a preteen boy than it is to actually find a preteen boy that can somehow act as well as an adult professional.
I love it, there are too many "main characters" though. The 3DCG girl has a really nice little mini-arc in the first half of the show, but by the second half she's nearly entirely absent, and I feel that it harms the overall work. I don't even remember her name, I had to look it up. She's probably my biggest (and only) real knock against what is probably my favorite anime.
The original [email protected] cast is a narrow group of fairly elite singing seiyuu that are horrendously popular and successful. They don't do much anime simply because they don't have to.
Cinderella girls is like some sort of mobage that expands the cast into the hundreds. A "collect all the idols" sort of deal. Only the most popular and prominent from that spinoff actually have voices at all. Joudgasaki Mika is one of the most popular characters from the spinoff and had a major role in the anime adaptation, but the overwhelming majority of "cinderella girls" did not appear in the anime, do not have voices or seiyuu associated with them and do not have any associated music.
I have no sources to give. You shouldn't take my word for it, but that infographic doesn't cite any sources or methodology, either. You should just take it (and whatever I say) with a grain of salt.
That probably doesn't satisfy, but it's all I got. Studies have been done on animator salaries, but their methodologies are flawed. It's not a homogenous market and many animator gigs are contract-based, meaning you might work six months out of the year on an animation project, and the next six months as a bagger at a supermarket. How is that factored into the "annual income" infographic? My guess is: naively. The only sensical way to assess this type of contractual compensation is based on hourly wage. But then you further complicate things when you factor in the per-drawing contracts a bunch of young and dumb foot-in-the-door types end up signing at sweat shops.
So my point is that it's a complex problem, and that's just the animators. All of that is being compressed into a single figure: $9400. Whether I'm right or wrong, nobody should be satisfied with that single data point.
She's waiting for you in the life after this one, anon. Wear the engagement ring around the neck and jump lightly to the place where all things are good and happy. She's waiting there for you.
The show was spotless in technical execution, but then again I don't have the sharpest eyes. It was presented realistically and the breaks in reality were humorous. I couldn't find any flaw in the story itself either
However, despite the technical perfection, I had to wrestle myself through it. Most of what happened could be predicted from a mile away and some intense moments turned out pretty lukewarm.
You will never date Erika and have mad sex.
Why even production assistant?
It was a lot more character-driven than plot-driven. Meaning that the plot mostly exists as a vehicle for the characters. The actual story is really simple, and basically goes the way they say it's gonna go from the beginning. Personally, the specific nature of some of the challenges they had to overcome were unexpected to me. But regardless, the whole point of a character-driven show is that it's supposed to work despite how simple the plot is. With just a really basic skeleton to hang character interaction on. This works for some people, and it doesn't for others.
For example, some plot-driven shows would be GiTS:SAC, LoTGH, Baccano (if I remember correctly, I should rewatch that), Berserk, plus most action shows. Some character-driven shows would be stuff where the plot isn't as important, like NGE, Shirobako, Hibike, most iyashikei and comedy. Tangentially, there's also theme-driven stuff, like GiTS '95, Tatami Galaxy, etc. Obviously all shows are a mix of these things. Some stuff like Cowboy Bebop for example is a really even split between character-driven and plot-driven (Bebop episodes were usually either plot eps or character eps).
So which of these you prefer is up to personal taste. I prefer character, then plot, then theme. But that's just me.
Like for example, the whole Zuka thing at the end was sort of predictable while still being clever in how it was composed, but it did kinda feel like a pulled punch. But I like the way it resolves the characters, and the way they interact in that scene, so to me that's more important. But I can definitely see why you'd be groaning through that scene if you really like a strong, satisfyingly complex plot.
I've made and saved so many of these bully stuff, and >>138615547 is the worst
Surprised that GG and S!E didn't bring in this much bullying. Maybe I just didn't lurk enough in the threads
Definitely more than most characters given her dominate personality and oral fixation.
The perfect girlfriend experience!
More horse power than a Double Wasp radial.
Yeah, the collars are cut out. I think the French have a word for that area.
She is literally perfect.