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File: 1608528908675.jpg (463.43 KB, 800x1149, Ultra_Jump_September_2020.jpg)


Anyone wanna theorycraft for JoJolion Chapter 100? Can't believe it's gone on for nearly 19 years, but that's just how serialized publication be.


Lmao there's people who still give a shit about jojolion?


I'm like 3 chapters behind rn, hang on


Ok I'm caught up.
Not gonna lie I was laughing my ass off at some of that Rock Human history/worldbuilding shit.
I guess they'll figure out a way to beat 'Wonder of U.'
I don't know where it really goes from there.
I think Araki forgot about momma Higashikata and she doesn't actually have secret conspiratorial plot relevance, cause it seems like Tooru and Joubin/Momgashikata woul be diametrically opposed,
assuming Momgashikata and Joubin are actually on the same team and Araki didn't forgot about her like so many other characters this part.
Anyhow, I think this fight is honestly shaping up to be super cool, but I feel as if Jojolion hasn't been particularly compelling as a whole for quite some time.


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You wouldn't do anything to harm her egg, would you?


I'm going to boil that egg.


File: 1608528896242.webm (3.29 MB, 640x480, 1413313537645.webm)



I'd break that egg and drown the bish.



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Cool video by Pause and Select on the importance of Japan Sinks and its many iterations: https://www.youtube.com/watch?v=sxUcbR12uHc


japan sinks more like japan STINKS


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How you liking the second season so far?
Having read the manga, i am quite satisfied with what they made of it and i enjoy the voice acting and animation a whole lot. Them getting more lovey dovey is great, things are heating up.
The opening is not as strong as the first seasons but i still wont skip it.


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


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.


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


Anime expressions are better.

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Would you say this board was successful?
24 posts and 4 image replies omitted. Click reply to view.


>everything IS political
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.


>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
>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"


>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.


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

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Literally the only good cops
4 posts omitted. Click reply to view.


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.
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.



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



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


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.
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.

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before you read this, can we all agree toonami was what made anime mainstream in america? ok?
So like the subject says there is a clear age gap in the anime/manga community. It's split
into two of the most soy filled baby generations y and z. For people around my age(late 90sfetuses)
We grew up in the tail end of toonami. Basically the era of Naruto and One Piece, this explains
why Naruto and One Piece is more consumed by zoomers while the previous gen grew up with dbz
and pokemon and maybe sailor moon. Folks around my age mainly grew up with NAruto on CN
one piece had a pretty shitty first impression and it didn't last that long on CN anyways
so this is why Naruto is more liked with zoomers. Anyways there's this new gen of anime fags
that don't know nothing about Naruto and one piece. There are literally fetuses lurking the internet
who where babies when attack on titan came out. I propose we should name this generation of /a/ fags gen 3
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At least on /a/ they pretend to only like 2d children.


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What's wrong with lolis though you brutes?


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.

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