Pigman08

Contributing writer for The Artifice.

Junior Contributor I

  • Articles
    0
  • Featured
    0
  • Comments
    3
  • Ext. Comments
    3
  • Processed
    0
  • Revisions
    0
  • Topics
    1
  • Topics Taken
    0
  • Notes
    1
  • Topics Proc.
    0
  • Topics Rev.
    0
  • Points
    25
  • Rank
    X
  • Score
    17
    Sorry, no posts matched your criteria.

    Latest Topics

    4

    The Anime Film Plot

    If you’re a regular anime watcher, or have seen a couple of anime series, then you’ll probably have come across a feature-lenght anime film. Important to note is that I’m specifically talking about films based on already established series, instead of stand-alone movies like Akira, Ninja Scroll, Perfect Blue and others.

    Many popular anime series such as Naruto, Dragon Ball, Pokémon, Digimon and One Piece have over the years built such a financial success that production companies are able to invest in films dealing with, in most cases, sidestories insular to the main plot, but with a much more complex and detailed animation process, which really shows. The animation level in these movies is simply incredible and full with mind-warping sequences and gorgeous backgrounds.

    However, I’ve found that, to my own arbitrary sensibilities, the screenplay doesn’t always match the genius animation these movies have. Stories tend to feel like regular episodes flattened and spread out like dough. Sure, the cake comes out beautiful, but there’s something missing in the flavor.

    Do you agree with this? Why do you think this happens? Do you got any examples of a tightly written anime movie based on a series?

    • Good suggestion. Makoto Shinkai's 'Kimi no Na wa', whilst beautifully executed visually, still lacks something in it's storytelling, although I've read that Makoto isn't satisfied with it either. I think one of the problems comes from whether the anime film is production driven (by the money men) or creatively driven. – Amyus 2 years ago
      3
    • There's definitely something to that observation. Just remembering my time watching the Bleach movies and thinking "Nothing is really happening here, right?". Not to say that Bleach was a series known for narrative quality. But you were capable of grasping the stakes of the conflict. You could occasionally empathize with every party in the conflict. However, the characters introduced in the films are given to time to develop beyond being easily-understandable archetypes. Furthermore, the main cast isn't allowed to develop in any significant way; probably because the films canon standing is dubious at best. They always come off as cash-in side-stories; meant to capitalize on the popularity of the franchise before the fanbase jumps to the next one (slight shade thrown at My Hero Acadamia: Two Heroes).It never seems as though anyone on any of these production teams said "let's make a movie good enough to stand on its own".The only two I can think of, off the bat, with any lasting impact are Castle of Cagliostro (based on Lupin the Third) and Cowboy Bebop: Knocking on Heaven's Door. Cagliostro is primarily a Gibli film first; that's why I believe it endures. Lupin the Third is legend, similar to Sherlock Holmes and Batman; so long as you keep fundamental aspects of the character intact, you can do whatever you want with the narrative, style, tone, etc. Heaven's Door is less enduring a work than Caliostro (and significantly less enduring than Bebop proper). The film was beautiful and had some of the best action I've seen animated. The story was simple but well executed; it channeled Noir-era films in a much stronger way than Bebop proper did. If the connection to its parent series didn't exist, it would probably (definitely) be less relevant than it already is. However, that film is worth watching on its own. It's a decent work; worth your time even if you don't know Bebop from Rocksteady.Nowadays, it seems like most anime don't reach the level of prominence to justify a feature film. That said, broadly speaking, the anime that do still reach that level of popularity were never really narrative powerhouses to begin with (Hero Aca being the exception).– OtisPickett 2 years ago
      0
    • A good observation. I think it comes down to either or in a lot of cases. Production companies can invest time and effort into visual affects and cosmetics, but the narrative quality suffers. Is it just them being lazy? Maybe, in the case of Bleach, or One Piece they just simply ran out of material. I think Bleach ran out of material during the anime but... yea different topic... lol. Do they production companies value or money or full effort creativity? I think the answer is obvious for most of the mega mainstream animes, despite stories like One Piece and Dragon Ball being considered classics.Great Entry! – Kibishii 1 year ago
      0

    Sorry, no tides are available. Please update the filter.

    Latest Comments

    The Song of Storms paradox always messed with my head. If I remember correctly, the windmill caretaker gets mad at you, but I wouldn’t know if it was before or after Link grows up. For some reason, the fact that he gets mad (well, you do mess up his windmill) adds a layer of melancholy to the seemingly inescapable loop, and you, as Link, are the only who knows this. The idea that maybe, just maybe, the world of your save file on a Ocarina of Time cartridge or ROM, is the window to an actual dimension where this things happen is a haunting one.

    Now, not to get too deep into this, but according to the Zelda wiki on Gamepedia.com, the Song of Storms is written by the Composer Brothers in Majora’s Mask, or at least it is taught to Link by one of them; and, in Oracle of Seasons, what appears to be the same windmill caretaker from Ocarina is playing it with his phonograph. Furthermore, according to the official timeline, Oracle of Seasons comes after Ocarina of Time, so, the questions stands: who made the Song of Storms? Is this dimension one where Koji Kondo is an omnipresent God?

    Video Games That Ask Deep Philosophical Questions

    This seems to me like is the result of the long-form tradition of shonen manga. I feel that until before the Chuunin exams arc, the tone and in-universe logic of Naruto was just in its right place. I admit, I was around 10 years old when I first read it, but the way the story starts with a trouble-making kid who the village despises because of something he doesn’t know about nor hadn’t responsability over set a melancholic mood that was heart-breaking but managed in a optismitic way thanks to more empathic figures like Ibuki, the Hokage and Kakashi; contrasted by the sad heel-turn of Mizuki in the very first chapter. This along with the Zabuza arc was also fascinating and still had a scale small enough to not end with the endless philosophy clashes ending in a finale that seems to not have satisfy many fans. Up to that point, and maybe mostly through the Chuunin exam arc, the battle of ideas and the antagonists’ dualities was encapsulated enough to not fail to fill expectations, but still creating a heart-wrenching bittersweet atmosphere.

    Naruto: The Unresolved Revolution

    This is a beautifully informative article. One of the quotes that I found more interesting was the one about the laser burning through the film. Definitely a serendipity moment, which seems to be one of the most important factors in the history of subtitles. This connects to what I think is a hard science: determining the best possible design for subtitles. When I watch films I’m always changing the font and style of the subtitles, trying to achieve the perfect balance of pleasant and non-distracting. Some TV channels seem to have gotten it right, but with some kind of secret formula. However, I’ve found that the best subtitle designs are always the ones hard-printed to the specific movies they belong, which doesn’t happen often- normally when a character speaks in signs or a language different from the one being used.

    I gotta say, what drove me to reading this article is that, as a Spanish speaker, subtitles were my true connection to films, instead of dubbing. I can’t understand when someone says they think watching foreign films is annoying because of the subtitles, when I’ve been reading them my whole life (well, at least since I was 11 and could read them fast enough).

    Subtitling for Cinema: A Brief History