/anime/ - Anime

More kaguya is always good. I want more scenes with Chika's little sister, I found her hilarious. Also been loving the ost, especially this track
https://youtu.be/jTl8soYvElo

>>728
The OST is something else, not the usual you'd expect in anime. I love it.
I wonder how they came up with the idea to go with this, somehow it's really well fitting.

It is once again my favorite show of the season. I will be very sad when this anime ends.

>>727
anime artists can't draw real life expressions for shit it's frustrating as fuck

>>1256
Anime expressions are better.

>>1377
>everything IS political
No
1) there is no politics in a bowl of fruit in a painting or a landscape or anything else that depicts something neutral.
2) Ideological themes does not equate politics
Dragon Ball has next to no politics, only vague ideological ideas that go nowhere and have no real impact beyond "the underdog beating the upperclassman" and power themes.
>what made the /leftyweebpol/ board worth a visit were the anons who were able to write excerpts about anime through a leftist lens.
Yes, but that was not the end-all be-all of the board, which I would know given that several threads were either made by me or contain large effortposts made by me including those with leftist analyses.

>>1378
>there is no politics in a bowl of fruit that are not mutually endemic
>in a painting or a landscape that either depicts nature or depicts city-scape isn't political
bakaa
>Dragon Ball has next to no politics, only vague ideological ideas
Only death can rid of us ideology

filter faggot and nigger to baka
filter incel to tsundere
filter waifu to "comrade in life"

>>1380
>incel to tsundere
I agree with the waifu and faggot/nigger, but dont do tsundere dirty like that. Besides the word Tsundere is more likely to be used in a genuine anime context.

>>1380
I like the baka one. The other filter ideas are bad.

Is this some fresh release? I saw people talking about it on the fedi.

>>426
Yeah it just came out on either Hulu or Netflicks last week.

>>421
Patlabor 2 was essentially a rough draft for Ghost in the Shell. It's a very good film on its own right, but it's not reflective of the franchise as a whole.
>>423
I disagree. While GITS is certainly a classic, it's kind of overrated as far as what you can glean from it nowadays. Innocence however is highly underrated.

>>424

1. Gotta disagree re: GitS1. I've always seen it as one of the best animated examples of less-is-more storytelling. It's barely 80 minutes long, but honestly, it manages to impart so much information about its characters and setting in its short runtime just through subtle visual cues and framing. The example that sticks out in memory off the top of my head is the short scene with Aramaki and the diplomat in the elevator near the beginning. Framing, dialogue, colors, everything tells you exactly what you need to know about these two.

2. Innocence is good, has parts that are great, but I think is weakened by A. some datedly ambitious CG, and B. the second half honestly just feels "off" in terms of pacing and tone. We go to the big cyberpunk slum, we have the obligatory Oshii montage and then we enter corpse guy's magical mansion of practical jokes, and then all of a sudden it's the climax, which honestly feels overblown given the stakes. Then Motoko shows up, gets a sad "goodbye" moment after she decides to peace out back to go play minecraft with skynet and wintermute, and the scene's attempt at pathos falls flat - the audience at this point, in the time frame of both movies, hasn't spent enough time with the movie timeline's version of Motoko to really give any more than a shrug once you get to the shot of the deactivated fuckdoll with the folk choir belting out one last line. It feels like they just sort of banked on people watching SAC and going "OHHHH MMMMYYY GGGOOOODDD IT'S MAJOR TITS."

3. Interesting you bring up the point about Patlabor 2, because there's an interview on the old limited edition set in which Oshii explicitly states that he saw GitS and P2 as companion pieces

>>844

And just to elaborate, that's the thing about Innocence - yeah, I get that it's a film of ideas, and I get that a major component of the movie's emotional arc is Batou grieving now that the Major is basically a minor cyber-deity and has to funnel all his affection into his dog just to cope, but again, this isn't a version of the Major the audience really has spent that much time with to get that kind of invested in. We see her for the duration of the first movie, in which she's very much depicted at arm's length compared to the manga and the show (which is fine, because GitS is a very cold movie by design, as Oshii often do), but Innocence's attempts to heighten the emotional stakes while building off of that foundation comes off as odd - not to mention, like I said earlier, the climax feels weirdly miscalculated. The ultimate stakes aren't much different from a random filler episode of the show, and yet Kenji Kawai's score is going absolutely apeshit as if Batou were about to get into a kickboxing match with the anti-christ or something. And yes, I get the movie is doing some weird meta thing where it's trying to explicitly tie its narrative arc to the progression of its themes and ideas, but honestly, that's something Oshii himself has done better elsewhere

>>844
Sure, Ghost in the Shell did a lot to emulate cinematic convention and certainly helped "elevate" animation as a medium for film (as if it ever needed to be), but as far as I'm concerned Mamoru Oshii has always been rather ambivalent to that kind of perception of his work. You might recall his qualms with Studio Ghibli when they really started to brand themselves as such at the height of Hayao Miyazaki's initial international success in the late 1990s and early 2000s, criticizing them for distancing themselves from the word "anime" and its associated adult-oriented, not-so-cinematic connotations. A lot of Japanese animators at the time were contemplating what exactly made animation distinct from film, when in actuality, and as Oshii once put it: "all film is becoming animation." I think it's tragic that so much of the "bad" CG composited anime from this period have yet to receive blu-ray releases. In my opinion, visually, they've aged much better than people think. It would be interesting to compare them all with the slew of cel-shaded anime we got in the 2010s but that's a different discussion.
>>962
Where would you say Oshii has done better? Urusei Yatsura 2: Beautiful Dreamer was my first thought, but that was twenty years ago up until that point. When it comes to Innocence, I think the Donna Haraway cameo that occurs fifteen minutes in should tell you everything you need to know about the film from thereon. That is to say, Innocence was never meant to be a direct sequel. In fact, it's much easier (and more interesting!) to talk about it as a standalone feature situated in the GITS franchise than one explicitly connected to the original 1995 film.

Lol, they weren't even depicted as good cops in the show. Still love them though.

>>675
At least on /a/ they pretend to only like 2d children.

>>675
What's wrong with lolis though you brutes?

>>678
Nothing wrong with lolis, just in sexualizing them. And Petite =/= loli

I dislike lolicons… but they're not nearly as bad as real paedophiles.

Unfortunately it is, and one would be hard pressed to find any country of national liberation movements that maintains a Soviet style economy today.
They can't be blamed for it exactly, nonetheless, because the latter half of the 1900s was a more and more difficult time for socialists, and for all the slander of their socialist systems that is correctly debunked here, conditions have been undeniably improved, even under reform, from those times. Without a superpower such as the Soviet Union, what choice was there for them.
If China had cleaved to the path that it took in the first decades of its reestablishment, even when the conditions were more and more inhospitable for socialism, undoubtably the blame for the miserable state of affairs would eventually fall upon socialism, as occurred in the USSR in the 90s. At the least now, for all the attendant problems of reform and openin and the capitalist infiltration, the youth can have the maneuvre room to reevaluate the legacy of the earlier revolutionary years more positively, without the spectre of poverty to be used against them.