ARE YOU ARE HUMAN OR A SAFEGUARD?
>Onii-chan, wake up!
>Killy & Sanakan fight
>Rock and Roll music
why does this even exist, blame was a black and white atmospheric exploration with almost no dialogue
They need to add characters to show emotions and dialogue for people who are not familiar with the manga.
They need that to draw in those people.
They won't understand the charm of reading thru a silent Killy walking thru mega structures, alone, fighting off cyborgs.
While I still think the manga is undoubtedly better, the film was still pretty entertaining.
It was sure as hell a lot better than I initially expected at least
Am I the only manga fan who just don't mind the film?
Yeah, it's not animated manga art, which is impossible to (affordably) do anyway, but it's also pretty cool in its own CGI way.
Plus, it will get more people to read the manga. If you think that's a bad thing, then you're just a filthy hipster.
I liked it. Sure, it wasn't really Blame! apart from the name and the setting, but I still found it to be entertaining.
If I wanted proper Blame! I'd just read it.
Why even make this I mean, the manga itself wasn't something with unlimited praise like Ghost in the shell, people are and have been divided on blame. GITS as a cash grab makes sense, even a live action death note makes SOME SENSE, but Blame? I dun gittit.
If you told me there was going to be a blame movie on netflix or a live action dragon ball with a black yamcha who successfully fucks bulma I would have sooner believed the second.
>why does this even exist, blame was a black and white atmospheric exploration with almost no dialogue
Yeah, watching a guy silently walk through epic megastructers for 2 hours in black and white would be really entertaining.
It's a point which I've argued over for several years, and the new threads that have come with the movie have reignited the stupid questions that come with the associated line of questioning. I actually checked - prior to yesterday, the last time I needed to post a specific argument was in July, last year. And now, with the film, there's just all these people who insist vehemently that their theories, ages-old in reality but new to them, must be true.
guy with amnesia looks for humans with the net terminal genes that can access the internet so they can stop the chaotic expansion. net terminal genes dont exist anymore because silicon life is spreading contagions/killing them. finds girl scientist who failed to artificially connect to the netsphere. meets sanakan who injects him with multiple needles to transform him into a safeguard, but that dont work instead it gives him a system update so he can now understand the display and use his superhuman powers to full effect.
sanakan grows hair and impersobates a loli. Electro fishers. toha heavy industries, gravity furnace that fucks with time and space because unstable and gravity. But all it matters is they get Seus genes because hes ancient human.
dhomochevsky. davineluvinvega a silicon life that wants to connect to the netsphere. steals seus gene capsule to connect, almost works, downloads safeguard 9 data into cibo who was hacking her. killy gets wounded and recovers for decades. sanakan got transferred to a more independant safeguard detachment and protects the new cibo safeguard/Seu/cibo hybrid. Killy finds talking usb stick. killy finds sanakan and cibo being engaged by the endboss exterminator. sanakan and cibo die but the orb in cibos womb is ok killy takes it. usb stick walks around in dream world, killy gets wounded by safeguard looking like a backup body of him, gets flooded to the edge of the city where contagion hasnt spread and the orb activates. flashforward killy protects orb child that wears a suit so it doesnt get infected with contagion. the end
>Why even make this
Sometimes people create what they want to create.
And since there's already a major following of Blame then they could get profit or at least even. That's two birds in one stone.
I felt pretty bad during the scene where Zuru had to come to terms with the fact that her best friend has died. Right here, you can see the moment where her heart is crushed. Considering this is a CGI animation, Polygon did a very good job with the characters. They are very expressive.
Oldfag here. I read the manga as a teenager more than 10 years ago and it had a pretty big impact on me.
It's pretty easy to hate this for not being like the mango and at some points cheesy, but it isn't not entertaining and is nice to see the characters being animated.
It's nothing like GITS level of butchery but don't expect the same thing. Just get comfy enjoy some 3DCG sci-fi animu.
GBE: I didn't like the red colour or post-discharge ashes. The white line that just deleted shit the fuck out of existence in the manga was the best gun experience I've ever had.
You are just lying to yourself. It would be entertaining for half an hour tops. But after the hour mark you would be thinking what would you rather be doing than watching this. And there was a ton of scenery porn in this film as it is, anyway.
reminder that they royally fucked what the GBE actually does.
I'm neither dickfence.
>you'll never get to go around BLAMing in a megastructure the size of jupiters planetary orbit
*blocks your path*
Oh no, I thought I could escape my cycles of guilt
Post some cute sanakans
(not true by the way)
Oshii is not pretentious. And he barely added anything in GITS. He mostly took away, and for the better. Stop backprojecting Innocence onto everything he did.
Tae is dead and was replaced by a Safeguard representative: a conspiracy theory.
Yeah I felt a little insulted when they felt forced to play back the things that happened just to make sure even the stupidest person in the audience wouldn't lose the plot. I think that short sequence was the worst part of the movie. I think a different approach would have been better.
It was ok-ish but fucked up the atmosphere and made it look like Blame! is about people surviving in the Megastructure rather then KIlly's journey
>I think that short sequence was the worst part of the movie.
I'll cop to that. I watched it with a friend who's also a big fan of the manga, and we both yelled "WHY" when they pulled that shit. You can't just reuse footage in a movie - especially in a movie like this. You just can't.
well, some mix of foot and heel
I do wonder if we'll ever get super-HQ rescans of Snikt. Given the legal entanglement with Marvel, probably not, but I can hope, right?
Hope more than anything else.
Worst is they already had the old man explain that shit. Either foreshadow it (like a shot of Tae falling to the ground with Sana-Kan's legs towering over her) or have a character explain it, but don't do a fucking flashback for that shit, especially when it's already explained.
How would you know and how does that matter? Polygon has done theatrical-level CGI before, and this wasn't that. If they don't want to be called out for bad craftsmanship they shouldn't do theatrical projects where they're only funded TV-money by a jew publisher that couldn't care less about its IPs.
I bought the remastered mange yesterday.
I want to make big prints of some of the pages for my house but the scans online aren't good enough, so I'm gonna scan this shit myself and then treat it with http://waifu2x.udp.jp/ .
I don't think I want to watch the movie. I'm just gonna get sad, and it's such a lovely sunday.
What page/spread form BLAME would you print for your wall? This is one of the ones I want.
Rock Forever 21, but still look thirtay... thousand.
>What page/spread from BLAME would you print for your wall?
Reminder that Biomega was the superior manga.
Seriously, just read them both and find out yourself.
Well, his style was much more mature when he was doing Biomega. I do love it quite a lot.
Not really, but it was pretty good on it's own
Studios don't have that much choice anon. You can't stay too long without a project and they were probably too happy to get a budget for his one. Heck it was probably their only shot at being able to make a Blame! adaptation. Tons of projects get scrapped every year because no one is interested in investing in them, so when you get a budget for a project you want to do you can't be smug and say "Nah it's shit, I'll find someone else".
Budget determines production time along with publisher deadline, wich means that even the best studios can't do much with a small budget.
Heck, that's why QUALITY is a thing in the first place. It's also due to staff competence and production management, but small budget leading to rushed productions has a huge impact on those things.
Uuuuu, I would love to print that one out
Part of me is surprised, and another part isn't.
Sidonia/BLAME! are actually Polygons idea/project. They approached Kondansha to acquire the manga rights. The CGI is the way it is intentionally, not due to a lack of money but intentional stylistic choices.
>Well, his style was much more mature when he was doing Biomega
Biomega was his peak in terms of artstyle
That was my favourite Killy. Spec-ops Killy just has the perfect goddamn looks and feel, so as to be the avatar of cool. And Killy vs Schiff was/is the most hardboiled fight in the manga.
Nihei could probably make money by just making proper large size paintings of industrial stuff.
And if I was a rich as fuck dude I'd buy every single one.
On another note. I really wonder what killy thinks most of the time he just walks through the megastructure?
Does he just play back 20-30th century mass media in his head?
Im not talking about the stylistic choice regarding the CGI (wich Im fine with), Im talking about some of the more rushed aspects of the production (quite evident during the Sana-Kan/Killy fight, just look at those ugly burning rocks).
Even if they acquired the rights, they still needs funding. And if it's a "Netflix Original" then it's safe to assume most of it came from Netflix in the first place. I don't think Polygon funded it all from it's own pockets.
There's an Oshii who can have fun and an Oshii who desperately wants to be taken seriously.
The first GitS is probably the one film he's done where these things meet a happy end product, but it's not the norm.
Compare the Red Spectacles manga with Jin Roh or Stray Dog.
The manga was so much more fun. A proper adaption of it would have been so fucking amazing, but he had to take all of the worthwhile stuff out. The same thing happened in Patlabor 2.
Oshii these days is the one who can't have any fun. Be happy with what you have.
>quite evident during the Sana-Kan/Killy fight, just look at those ugly burning rocks
Did you see that one bit where a laser hits a building, and flame effects and smoke burst out of the building and the screen shakes, but you can clearly see no change to the actual structure in the background? While I was maybe conscious of the crappy effects on some lower level prior to it happening, after that, I just couldn't take most of the effects seriously.
>GITS as a cash grab makes sense, even a live action death note makes SOME SENSE, but Blame? I dun gittit.
Blame! has a bit of a cult-following all over the globe. Its not strictly just for japanese audience, since plenty of europeans loved Blame! manga as well. So its ideal for distributors like Netflix because its small money guaranteed from every major market.
Anime movies in general don't always have to be made with strictly japanese audience in mind. Little Witch Academy is another example of this.
>Have you seen Sky Crawlers? Oshii could totally do Blame, if he could do that. Wouldn't be perfect - it could never be - but it would be better than what we've just now got.
We would have 3h of talking heads with unnatural nonsense about some silly philosophical questions.
The only companies on the production committee besides Polygon are King Records, Kodansha and perhaps Klockworks. Netflix have just bought worldwide streaming rights. Although it has been said in cases where Netflix does this it is often paying enough such that the production is going to be profitable even if it does terribly in Japan.
My point was it is their own IP anyway not "some jew publisher giving TV budget for a movie". I don't really think any of it looks particularly rushed or terrible to be honest. It was certainly Polygon's best attempt at date to imitate 2D anime style with their animation. Easily above any of the TV series anime imitation animation they have done on the visual aspect.
>Patlabor 2 is my favourite entry in the franchise.
Nothing wrong with a dry and detached world, but everything is wrong with Patlabor 2.
Seriously, it's an absurd setting with an absurd premise and Oshii tries to play it like it's a fucking Russian War film.
>We would have 3h of talking heads with unnatural nonsense about some silly philosophical questions.
Exactly, and that's what Oshii made out of a fun adventure story, albeit one with a few darker tones.
>when you get a budget for a project you want to do you can't be smug and say "Nah it's shit, I'll find someone else".
If they had integrity, they would. People do it all the time.
Again: telling yourself that they deserve some sort of slack or recognition for making a hackneyed, under-cooked adaptation is intellectually dishonest rationalization. The move was shit, and if they don't want to be known for producing stinkers, they simply shouldn't churn 'em out. It really is that simple, and no different from any other industry in that regard.
>If they had integrity, they would. People do it all the time.
Here you can see a person who has never owned a company.
Most production companies out there do multiple commissioned works first before being able to do a dream project of their own. This is true for pretty much all forms of media from animation, film, comics and games.
Getting Blame on a large mainstream platform is cruicial for stuff like that. The kind of sci-fi movies aren't made so it can be quite successful in all kinds of markets. Sidonia was extremly successful on Netflix for a reason.
>Most production companies out there do multiple commissioned works first before being able to do a dream project of their own. This is true for pretty much all forms of media from animation, film, comics and games.
Quite, and I'm not contesting that. And all the same, it changes nothing.
So I ask again, what gives you that impression? The only basis for that kind of claim are the rumours that I refer to in my original post explaining the situation. People assume Netflix must be paying a lot to get worldwide exclusive streaming rights to things.
I know nothing of it beyond the film, which was incredibly powerful. But, that's only my perspective. /a/ has an extremely rigid hate/love line with Sky Crawlers - unlike that of most other anime/manga products in general. You're just as likely to hear someone say that it's the worst thing that they've ever seen. So, if you're curious about it, you ought to simply watch it yourself.
Yes, but there can be long periods where both Cibo and Sanakan can be absent.
One book because of time distortion in the chamber they enter, Killy gets separated from Cibo, but find a different world-line version of her as a guide, then a little bit later finds the original Cibo as well. But thanks to the time-distortion, Cibo had waited for Killy for 25 years.
Impression? What impression idiot, it's a fact. Netflix wanted more Nihei stuff because Sidonia did very well for them (and Polygon wanted to do more Nihei stuff because they like his work). The other companies on the production committee are tag-alongs.
I've seen it.
It was dull and exactly the reason I hate modern Oshii.
He could have all of that political commentary and all of those thematic elements without the characters coming across as robots.
In fact, the lack of expression in the characters actively damages the film, because it makes them incredibly difficult to mourn, when the entire premise is built around making you feel bad for the people forced into these roles.
The book and the game realized this. They didn't have this problem.
I do agree that the animation looked better than Sidonia, but some shit, especially effects, looked really bad clearly showing that they decided to cut corners.
Even if it's your own IP you still need a budget to do things (IPs don't come with bank accounts), and it has to come from somewhere. If there is a production comitee, hen it means that the budget indeed came from different parties (most likely the ones you listed). So saying that "some jew publishers gave TV budget for a movie" isn't actually wrong (though it is a quick assumption to make).
First, the adaptation looked good overall. It's just that you don't like it.
Second, you're fucking wrong.
It's not rare for studios to do shitty projects just so they have something to work on. And budgets aren't easy to get son. If you manage to get one you can't be sure you'll ever get another one that's as good. Putting food on the table is more important than integrity.
You just sounds like you know nothing about the animation industry.
Making Sidonia is literally what gave Polygon a good reputation as a CG studio in the anime space. Both Sidonia and BLAME! are very much their projects not things they are doing for the money. Considering that BLAME! if anything is visually an upgrade on Sidonia it will probably continue to enhance their reputation in the industry.
Netflix has nothing to do with Sidonia being made or it happening. The project was put together by Polygon Pictures.
When i was reading BLAME! for the first time for some reason I was listening to this one album by Interpol.
To this day the one song that always reminds me of BLAME! is Interpol's "A Time To Be So Small".
It fits pretty darn well.
This isn't the right version from the Antics album but I can't find that one on jewtube.
Polygon Pictures is only doing the animation. They did not fund it.
>Making Sidonia is literally what gave Polygon a good reputation as a CG studio in the anime space.
You have ZERO, NADA, ABSOLUTELY NO FUCKING IDEA what you're talking about. Just shut the fuck up already.
Some Blame! stories are about people surviving in the Megastructure. And Killy essentially being the Mad Max/Mysterious Hero who joins in, saves the day, then leaves to continue his own quest.
>the characters coming across as robots.
That was intentional and one of the best parts (they're artificial humans). It's also why that other anon drew comparisons to Blame. Why are you even here anyway?
I'm just stating facts. The President of the company himself has said this and directly attributed the fact they have anime work up until 2018 with the success of Sidonia. Polygon Pictures isn't only doing the animation they have acquired the animation rights to the manga, it's their IP.
Anime would need to rewrite a lot of things like inlcuding more human side-kicks, so it would somehow work in the audio-visual format like a movie or tv series.
The first movie did a good job in that regard
Did you actually read the rest of that post?
Robotic characters have their place.
Oshii clearly doesn't understand that they don't belong everywhere.
Jin Roh had the exact same problem.
I was supposed to feel bad about Fuse trapping this woman in a political power play, but I was sick and tired of that fucking dynamic.
I was desperate for him to shoot her.
Maybe I'd get more neat politics and action sequences if I didn't have to hear this woman moan.
>it's their IP.
Doesn't mean they're the main funder of the project. You seem to have no idea how anime production and financing works.
>The President of the company himself has said this and directly attributed the fact they have anime work up until 2018 with the success of Sidonia.
Polygon Pictures was doing CGI animation before that. What he meant was that CGI didn't prove financially viable before Sidonia (CGI anime wasn't popular.) You're confused as fuck.
Someone posted this yesterday, I think - it's a melodic death metal piece with lyrics directly inspired by Blame.
Blame has inspired a huge amount of interesting music, actually. Aairria's stuff being the most obvious example, of course.
There's also an album by Gerar DuGalle called "Megastructure", which is much more musical and 'thematic' than Aairria's work. His thing appears to be gone from bandcamp, though, so I don't know how to link it.
I don't get it.
Killy was obviously not human, same with Cibo.
What did none of the villagers say anything about that? They weren't even phazed by a talking corpse-like thing Cibo.
Maybe go back and read, dipshit.
Oshii has developed conventions that he has refused to abandon since the Ghost in the Shell adaptions, regardless of whether or not they work in context.
They're not everywhere. In Jin-Roh only the MC acted "robotic" and it made sense for him to act like that. He was a desensitised soldier. You seem to be a total pleb. Stop posting already.
I prefer early techno-nomad Killy.
>that mug on chest
When cybernetics are as common as prosthesis, what you consider human stops being so clear. As long as they were born as flesh and blood humans it makes sense to consider them as such.
I genuinely enjoyed this movie. This is probably one of the rarer cases where I'm actually fine with the work not being a direct adaptations and that the liberties taken with the movie was pretty acceptable. I've mentioned before in the Sidonia anime threads that I'd actually be fine with Blame being full CG and well now that it's actually out, this is also one of the rarer cases where it being full CG actually enhances the setting.
As an aside, I find it interesting to find that this season consists of both the best and worst example of full CG anime.
You're arguing about Oshii's value as a director when the initial point in question was whether or not he would make a good Blame adaptation. Going by the logic which you, yourself, have provided, he would.
It made sense because Oshii went out of his way to write it in that manner so he wouldn't have to try with these characters. Again, the intention of the film in framing these characters in a sympathetic light falls completely on its fucking face when you don't give two shits about them and want the shooting to start back up.
The only person thats confused here seems to be you. I never stated Polygon Pictures wasn't doing CGI before that. For the most part their work was rarely in anime though. I said that making Sidonia gave Polygon a good reputation in the anime space.
>Doesn't mean they're the main funder of the project. You seem to have no idea how anime production and financing works.
I have never said they are the main funder. I am just pointing out that Netflix isn't forcing them to make anime adaptations of Nihei works. It's very much their project that they have put together and pitched to Netflix as a source of funding. They approached all the parties to get it made. It wasn't Kodansha or Netflix that approached Polygon to do the work on Sidonia.
The point I'm making is that he wouldn't because he doesn't give two shits any more.
He'd give it his standard oshii treatment.
He wouldn't explore the setting.
He wouldn't provide anything unique to the characters.
He'd give you the same navel gazing slog he's given you the past decade and a half.
>the intention of the film in framing these characters in a sympathetic light
>The 120min talk about Little Red Riding Hood
The what, faggot? It was one single scene and it was a perfect analogy for that girl's situation. You're triggered because the film went over your head, admit it.
The ultimate defence of an imbecile.
Anything is possible if humanity have the technology to build megastructure. I'm sure transferring their consciousness to a better body over and over again is easy as fuck in that era.
The entire climax and twist of the movie was that the dry emotionless romance was a political plot.
If the intention wasn't to make you feel bad for the people involved then there was no intention at all.
Reminder that Nihei's works aren't cyberpunk. They're more like post-cyberpunk. Where cyberpunk like GitS are still at the level of pondering on what being human means when the boundary between man and machine is blurred, Nihei's works are beyond that and that what constitutes as human has taken on an entirely different understanding.
>I said that making Sidonia gave Polygon a good reputation in the anime space.
They already had a good reputation as a CGI animation studio. The problem was that CGI anime did not sell, not which studio made them. Sidonia is one of the first successful CGI anime. Again, you're confused as fuck and have no idea what you're talking about.
>I have never said they are the main funder.
Oh wow, really? Why the fuck are you even arguing then?
>Netflix isn't forcing them to make anime adaptations of Nihei works.
Who the fuck said Netflix is forcing them to do it you tard? Again, why are you even arguing?
FFS /a/non, you're so stupid sometimes.
Not even him, but you really are the one who seem to be making garbled arguments here and there.
> Sidonia is one of the first successful CGI anime.
>I said that making Sidonia gave Polygon a good reputation in the anime space.
What you and him said actually do not contradict at all. At this point, it seems more like you're arguing for the sake of it.
>They already had a good reputation as a CGI animation studio
You really are failing to read aren't you. I'm not debating that and never claimed they didn't.
>a good reputation in the anime space
Sidonia gave them a good reputation as a studio that can make 3DCG anime successfully. The only person that is confused here is you because you seem to be unable to read properly. I don't actually think we are disagreeing on all that much rather that you are just misunderstanding everything due to poor comprehension.
>why the fuck are you even arguing then?
Polygon most definitely are not "only doing the animation" they are the whole reason the project exists and own the rights. Meanwhile you are trying to make out that this is a tradional production committee whereby the animation studio has just been hired by the rights holder when that isn't the case at all.
It renders the entire fucking movie pointless. Because I fucking despised those two robots.
A tragedy isn't a tragedy if you don't care about the people involved.
And don't get me wrong, these were all still VERY competent movies. Thematically and technically.
But they're clearly routine and very disrespectful to their source material.
And that's a clear reason why he wouldn't make a good Blame! adaption.
If it were truly a political thriller (like his original work on the red spectacles genuinely was- and excellently so, seriously go read it), then they wouldn't have devoted so much time to this stupid fucking character dynamic.
>Sidonia is one of the first successful CGI anime
Thereby giving them a a good reputation in the anime space
If you can't wrap your head around such a simple line of thinking, then mate, I think you're the one who is stupid here.
>they are the whole reason the project exists
Wrong, this is something they did in partnership with Netflix, which ponied up the cash for it. Like I said above: the goals of both companies happened to coincide.
For Netflix are titles like Sidonia and Blame perfect.
They can tap the anime target group but because of the sci-fi story and CG there is also a way wider appeal.
Both are great titles to complete and diverse the own catalog.
Disrespectful? Oh fuck off. Jin-Roh is Oshii's own story. You're just spouting gibberish at this point.
>Because I fucking despised those two robots.
>It renders the entire fucking movie pointless.
Not to me. But then again, I don't have to 'feel for' the characters and 'cry when they die' to enjoy a good story.
>they wouldn't have devoted so much time to this stupid fucking character dynamic.
Why not? Because you got duped by the red herring and believed this was some romance story like an idiot? Come on. It was obvious from the start that the """couple""" is not what it seems.
>Jin-Roh is Oshii's own story.
It's a bastardization of his own story.
Like I've been saying.
The guy used to know how to have fun.
How to write endearing characters.
He forgot after he made it big.
>Not to me. But then again, I don't have to 'feel for' the characters and 'cry when they die' to enjoy a good story.
And again, if the sentiment of the audience for the characters was not important, there would not have been so much time devoted to them. They would not have played such a central role.
No, Killy's good at CQC. He even killed Schiff without a gun.
Killy never died/dies. That's the whole point of his character. He'll never go down forever, no matter what you do.
Was I implying that I didn't get it?
It was a pretty transparent dynamic, especially if you're coming out of GitS.
I was saying it was a waste of time.
If your story can't be told without devoting so much time to two characters with absolutely nothing going for them, then you'd probably be better off telling a different story. A rewrite would be in order, or at least an attempt to make these people likeable.
But that's too much work for Oshii these days.
It's also something they did in partnership with Kodansha and King Records. Again Netflix may have contributed to funding the project in order to secure worldwide streaming rights but thats as far as their role in it goes. The active role in putting the project together and making it happen is in Polygon's court. Other companies have contributed to funding it as well including Polygon. You don't acquire rights to an IP for free.
>bla bla bla the characters are not relatable for me wah wah wah
Piss off. It's clear you're just flailing your arms over nothing at this point. (Funny how everything you said is a positive for an Oshii adaptation of Blame!)
If you're going to wilfully misinterpret my argument, go for it.
If you genuinely want to know what I've actually been saying you can go ahead and scroll up.
I couldn't have been more clear.
> if the sentiment of the audience for the characters was not important, there would not have been so much time devoted to them.
Why not? Because you thought the story was a romance? That's why Little Red Riding Hood triggers you so much. It was a hunter and prey story, but you wanted to watch a love story.
From now on I'm just going to reply to you with "pleb" because that's what you are and you deserve no more and no less than that.
>It was a hunter and prey story,
Does a wolf usually cry before he kills his prey.
No. The movie was about a brutal political system which forces two basically good people into doing evil things. Both of them thought themselves the predator. Both of them felt bad about it. I'm sorry you can't into subtext.
A failed message because I was rooting for that violent system to kill both of these whiny melodramatic fags.
Sorry but that is nonsense. Kodansha and King Records are on the Sidonia Production Committee. Netflix are not. Those companies actually have ownership in the anime. Polygon, Kodansha and King Records. Netflix do not. They pay for streaming rights, they might very well have paid a lot and that isn't being argued with at all but its very much not their project.
>there's nothing stating the opposite
>Is Killy really a Safeguard?
Disregarding all of that - Killy also kills the only copy of him that's ever made, and the copy doesn't even have hair. And Pcell's descendant explicitly says that she was saved by Killy. It's Killy.
>Was I implying that I didn't get it?
You didn't imply it. You're flat out showing that you didn't get it. Right in this very post. And the others before them.
You are on the same level as those people who keep going on about self-insert. You are the one who don't get it.
Sanakan is only overpowerd as long as he is connected to the Net, so she can use the towers to rebuild herself.
Once she cuts the connection he gets fucked up by the Silicon life
Wasn't he a safeguard?
I thought he was an agent of the Authority, created an extremely long time ago - making him a safeguard.
Unless I've got this shit wrong in my head.
Same with Dhomo and Ike, think Sanakan was made later.
I'm a different anon and he's right. From the moment you keep going on about likable or not, it already showed that you missed the point. You have indeed been very clear. The problem is you're the one who is not clear about what the others are talking about.
>If you genuinely want to know what I've actually been saying you can go ahead and scroll up.
That applies to you. Take your own advice.
If you can provide a source showing that then I will concede that they are but from what I have read they very much are not.
>To fund “Sidonia,” Shiota and his colleagues abandoned the standard production committee model of investment, in which a group of typically eight or nine partners finance a project to minimize individual risk. Instead, they decided that they would invest in creating their own intellectual property, alongside two other companies, Kodansha and King Records.
No he isn't.
This is the message of the film.
It fails because the characters are unlikable.
So there's not feeling of tragedy from a tragic story.
I understand that both of the characters are in this relationship unnaturally and to the detriment of the other. If that's the case, then there's no point to the movie and the characters certainly shouldn't have the waterworks at the end.
It's not a difficult to understand film.
If you lack the capacity to take away such a basic message, then I get the impression this discussion isn't worth continuing.
Do you think some madman will re-render the movie with 60fps like they've done for Sidonia?
I sure hope so, shit could be cash.
>the whole movie with movement as fluid as the Cibo Net Sphere scene.
It's one of the things I'm most mad about in this age of CG.
You're not drawing these fucking frames by hand anymore, just up the framerate to 60 already holy shit. It'll be worth the time spent rendering the frames. I thought 60fps was smooth as shit until I got a 144hz monitor for gaming purposes. Now going back to 60 looks choppy as fuck and watching movies at 24 and anime at 12 is just awful slideshow-tier shit.
Fine. If that's what it comes down to.
I find it funny that nihei was able to make me feel more sympathy for a guy that spoke maybe 30 words throughout a whole series than Oshii was in an entire movie of dialogue and interaction.
But whatever floats your boat, dude.
I remember reading an article or interview with someone saying that CG anime is purposely done at low FPS to make it look more like hand-drawn anime.
Don't quote me on this though, don't have a source rn.
It's an intention stylistic choice to appeal to Japanese tastes in animation. It isn't going to change anytime soon.
Here you go.
It's true. Thing is, they're bad at doing it. See
for a more detailed explanation (when doing traditional limited animation you don't just remove every 2nd drawing like they're doing. You remove drawings when you can, and leave them in when it'd make the motion come off as choppy.)
I read that expecting some amazing mindblowing concept that I had failed to grasp and instead got some retard's dumbshit conjecture that, if anything, proves that 60fps would be far better.
You've got it wrong in your head.
Dhomo, Iko, and Sanakan are Safeguards. Killy is not. Killy is a "[a] system's secret messenger", and/or a "pre-Safeguard agent". He was alive before the Netsphere disaster. He is a human who has had extensive cyborg-ification done to his body. In the time before the disaster, he was likely a police officer. This ties in (somewhat tongue-in-cheek) with the original Blame, which has Killy working as a cop in a world where people are beginning to do the Silicon thing. The Authority is the law which supersedes the Safeguard system and is intended to control all of the functions of The City. When the Netsphere disaster happened, The Authority was trapped in the Netsphere, in the chaos, and somehow lost the ability to control/change the Safeguard protocols and the ability to largely interfere with the physical world. As a legally-licensed authority, Killy is tasked by The Authority with fixing everything. Maybe they gave him his physical enhancements after the end of the world, maybe he already had them. Either way, he's literally just Some Guy with cutting-edge tech installed in his body. The cutting-edge tech is prototypal equipment which was later developed into the standardized Safeguard designs - an event which must have occurred before the disaster. In summary: no, he's not a Safeguard.
First time i notice blame is somewhat related to gigers drawing. Also there is another one from him with the same perspective as in the manga.
This guy really gets it and knows what he is talking about. The animators at Polygon were used to working on western CG for the most part so taking a Japanese approach with framerate modulation was probably rather new to them and hence they weren't particularly skilled at it. It will improve with time if they continue of this path though.
They live in a world where electric towers can spawn living dolls out of walls in seconds and where huge skyscraper-size builder robots roam about. They're used to robot monstrosities by now.
>I read that expecting some amazing mindblowing concept that I had failed to grasp
You got hoisted by your own petard. I've seen Sidonia interpolated to 60fps. The improvement is minimal. That guy is right, the motion is not defined properly.
Yeah that's the difference between them really. The Polygon crew just lack experience in the 2D animation so aren't great at knowing which frames to remove to get the effect they are aiming for. The facial rigging they use could do with improvement too although that has improved signficantly since earlier projects.
I actually find myself associating it more with Dark City.
Also, I suppose Killy can be seen as the proto-safeguard or the archetype of safeguards in light of this. Seeing how the tech given to him was later used to mass-produce safeguards and all.
>Anime-style animations can look good in high-fps 3D without losing the identity.
This is not right, it's not even wrong.
>Look at video games.
The motion in video games is nothing like in anime. Anime-style desgins =/= anime-style limited animation.
Go read Noise it answers most of your questions
Blame started just a little while before Dark City came out, so it's entirely possible that the later end of it took inspiration from Dark City. I believe that it did, at least.
Just as the movie-watching audience (the entire world) prefers their 24fps slideshow for the exact same reason : they're used to it.
It is also at a low fps for the exact same reason : money. It was cheap to have lower frames.
Strong argument, you sure convinced me with that hot post of yours.
Yes, they do it because they're used to it and it's what the audience expects. The audience expects it because it's always been that way, and it's always been that way because it was the cheaper option. Do you really think their amazing 'limited frame animation style' is limited to a random arbitrary number of 12 or whatever they use? No. It can be done at whatever fps they choose to do it at with minor basic stylistic modifications that would no doubt leave it looking far better at higher frames than lower.
>Yes, they do it because they're used to it and it's what the audience expects.
It really isn't at all what the audience expects. They just don't know how to do limited animation properly. Read upthread.
Threadly reminder that any /v/ transplants who know nothing but shitty cutscenes in their shitty games and complain about animation framerate as well as nu/a/ faggots unironically recommending frame interpolation garbage plugins to them should fucking neck themselves.
>Do you really think their amazing 'limited frame animation style' is limited to a random arbitrary number of 12 or whatever they use?
Limited animation is defined as animation at less than 24fps. Once you reach 24fps it's considered full animation. So yeah that's the limit.
>muh sekrit club
Bet you call people normies as well.
I've actually really enjoyed it. Sure some of the changes were pretty jarring (like Cibo meeting Killy in the Electrofisher town) but at the same time I'm so glad to see BLAME! animated in a decent style. Then again I'll admit my bar is pretty low so I can understand why people could be upset over those changes.
I'd kill for Samurai Jack style series though.
Remember how I said my bar is pretty low? Yeah, while I think the finale definitely could be better it didn't ruin the series for me. Like with the BLAME! movie I'm just glad it happened.
Yeah, that's why they call him "the calamity".
He just moves through the megastructure and whatever powers exist - silicon creatures, safeguards, whatever - can just watch, because whatever they send to stop him it just dies, or barely escapes.
He is, in a way, a force of nature, rather than a living being.
That's part of his charm. He's this tiny little thing in the vastness of megastructure and yet has pretty big impact on it. Endlessly moving through it.
Honestly that's one of the more interesting facts of his character. He's literally a living legend and the new movie accentuates that - he feels 'beyond' the Megastructure in a sense. Considering he's most likely pre-contagion he might as well be from another world. Almost makes him like a divine messenger or something if I wanted to get even more pretentious than I already am.
He still needs to munch on those ration sticks though.
Just to add, this is why Mad Max is a good example of another character like that.
Doesn't say much, shows up places to show the viewer/reader a story from the world he inhabits, destroys whatever is in his path without saying a word, keeps on going.
He is like a relict from a whole that almost no one remembers. And for some reason he keeps going, driven by something.
It's weird. It does make it feel like Killy is otherworldly, like despite being inferior to all the new forms of "life" he still is invincible in a sense.
This is why I love BLAME! so much. It's this combination of extremely depressing world which seems to have no hope, stability, or sense, combined with the adamantium-grade force of will of Killy who just keeps going, no matter what, trying to find the net terminal gene.
He's like the rock we cling onto, while traversing through this chaotic and difficult to understand world.
>He is like a relict from a whole
I'm drunk. I was finishing a bottle of sake I just remembered.
>He's like the rock we cling onto, while traversing through this chaotic and difficult to understand world.
I never actually thought about that. The world is really damn crazy and shitty but even if he's a mystery - Killy remains Killy. Even when Sankan and Cibo change forms he's always the same. Huh.
I really gotta re-read BLAME! again.
No, he's cyber punk Muhammad.
He cuts his way through the world following his mission, collecting waifus.
Anyone else watch this movie and laugh every time Killy was asked a question? The guy would take like 30secs to answer even when everyone around him was dying. I get that he's some kind of machine but it's like he was given some kind of A.I. autism.
Well it's implied he's so old and busted he might as well have some speech impediment. Plus I bet in the movie-verse he didn't speak to anyone in like what few thousand years? He's just rusty. Or maybe he just speaks that way. Who knows.
>Killy remains Killy
Other authors would have tried to give the guys some kind of character arc, maybe a genuine romantic interest.
Not Killy. This guy has been around for possibly hundreds of thousands of years, at least tens. He's seen probably billions of people die before his eyes various ways.
The moment Cibo joined him on his quest he probably already anticipated her death at some point, because that's what always happens.
The world around him changes, people die, people are born, new forms of life are created, and he just keeps going, having seen it all already.
He might have partial amnesia when we meet him, but his character is still what it is. Jaded by the life he's lived, or rather, survived.
He really is a force of nature, a calamity.
He probably just hasnt talked for a while, its like when you don't talk for weeks in real life and when you finally do you sound like a retard. An experience im sure some can relate to.
Yeah, imagine walking for a 100 years without meeting another living being.
Jesus fucking christ BLAME! is so depressing.
I love it. When I finished reading it for the first time I had a micro-depression, the first and only one I had in my life.
I honestly never found it depressing or sad, I guess the City has a sense of endless adventure that appeals to me. Like the idea of being an immortal robot dickhead traversing it seems kinda enjoyable.
Hahahaha, how would that even work?
No, but really, it lasted just one day. I'm a very happy guy with no worries, so this was something new for me. I never get depressed.
It's not the characters. That part is actually quite uplifting(as much as it can be in this setting). After all
the net terminal gene was found.
It's about the world.
It's so chaotic, vast, so pointless.
All these beings, all mutated one way or another, al agmented one way or another. Probably not knowing where they or the structure they live in came from.
The lack of any normal human beings. The cheapness of life of any form in such a world. The pointlessness of building it bigger an bigger for no reason.
The seemingly ineffective attempts at saving the life in megastructure in various ways.
I don't know, if I was dropped somewhere in the megastructure during the time of BLAME! I would probably find it very hard to shake of the feeling of the ground shifting beneath my feet, literally and conceptually.
>He is, in a way, a force of nature, rather than a living being.
If the Authority really wanted to they could just transmit a dozen Level 9 Safeguards to his location and assrape him
Something makes me think they already tried that, or something like that, and it backfired horribly, so they are just keeping their distance now.
It was only three times because the connection was getting worse as Killy went to the border of the City and also because by then Sanakan was trying to help Killy and not the Safeguard so they didn't have reason to keep helping her
Wait, I recall them trying to stop him once or twice...
I guess a re-reading is in order once my copies arrive.
Good thread guys, but I'm out, time for some Sunday drinking at the bar.
I've been on /a/ since like 2005.
That's how I format my comments. Sue me.
I think it partially comes from how I format my markdown notes on projects at work.
The Authority is helping Killy but it can't stop the Safeguards from attacking people, or Killy, without the request of somebody with Net-terminal genes.
So they have to help him in a roundabout way
The laser beam was piercing through and hit something explosive inside where all the humans are, just like literally every other one of the dozens of shots she fires before then.
>blaming the animation on you being a moron