Archive pour la catégorie ‘Demandez John’

A number of years ago when I was regularly a guest and panel lecturer at the Glass City Con and other small anime conventions, I took pride in creating and offering unique, educational anime panels. Moreover, I made a point of never repeating myself. Each presentation was only given once. But as years have passed, I think it’s a bit of a waste not to share some of these presentations with a wider audience.

So with my very rudimentary video creation & editing skills, I turned one of my PowerPoint lectures into a self-contained YouTube video. This presentation highlights the origins of some of the homages and visual references that repeatedly come up in anime. Some of the references are easily recognizable, some not so much. But knowing what the references are, and what they’re references to, will allow viewers to better understand and appreciate the jokes and influences embedded within anime.

Partager

A number of years ago when I was regularly a guest and panel lecturer at the Glass City Con and other small anime conventions, I took pride in creating and offering unique, educational anime panels. Moreover, I made a point of never repeating myself. Each presentation was only given once. But as years have passed, I think it’s a bit of a waste not to share some of these presentations with a wider audience.

So with my very rudimentary video creation & editing skills, I turned one of my PowerPoint lectures into a self-contained YouTube video. This presentation highlights the origins of some of the homages and visual references that repeatedly come up in anime. Some of the references are easily recognizable, some not so much. But knowing what the references are, and what they’re references to, will allow viewers to better understand and appreciate the jokes and influences embedded within anime.

Partager

Question:
I know you had a column recently on Battle Angel Alita and you’re probably impressed with the reception where fans and some film critics are commenting this is the truest adaptation of a live action film based on a manga to date by the film Director Robert Rodriguez andAvatarcreator James Cameron, even the manga creator Yukito Kishiro was impressed in your opinion what factors that the writers and producers gotten right with this adaptation compare to others in the past like say the live action Ghost In The Shell, Dragon Ball Evolution, Crying Freeman and what does that mean to ‘Development In Hellprojects like Ninja Scroll, Akira, Bubblegum Crisis and a rumoured Hellsing live action (just speculation)

Answer:
The lessons to be learned from the success of Robert Rodriguez & James Cameron’s Alita: Battle Angel movie are multiple and subtle, which is why I’m afraid that they likely won’t be learned from this film alone. Reflection upon particularly Western live-action adaptations of manga suggests that an initial concern of great importance is the adaptability of the original narrative. Manga series including Gunnm et Crying Freeman are action titles starring a singular character. While these titles exhibit some characteristics of Asian and particularly Japanese philosophy and culture, they’re not inextricably tied to Asian philosophy. Dragon Ball & Death Note, par exemple, are much more intrinsically steeped in Asian culture. Dragon Ball is essentially Akira Toriyama’s hybridization of the Chinese Saiyuki legend. Death Note is fundamentally grounded in the pagan concept of shinagami. On one hand Ghost in the Shell is an action title starring a singular character, mais GitS is also a concentrated philosophical, meditative, and reflective drama deeply in the vein of Ridley Scott’s Blade Runner. Interconnected with the original material itself is also the nature of the screenwriter and director chosen to handle the adaptation. Rodriguez & Cameron are an optimal choice for a number of reasons. Both men have made a career of creating crowd-pleasing action films. Moreover, their skills and experiences balance and complement each other well. Rodriguez has made a career of maximizing low budgets, of being ingenious and inventive. Cameron, d'autre part, has made a career of sparing no expense to capture complete believability. Both creators have been fans of comics & sci-fi for decades, so both were clearly committed to visualizing and adapting Yukito Kishiro’s original vision, not necessarily creating their own interpretation of Kishiro’s work. 2017 Ghost in the Shell director Rupert Sanders admirably attempted to largely stay faithful to Mamoru Oshii’s 1995 original (as the 1995 movie is far more Oshii’soriginalfilm than a direct adaptation of Masamune Shirow’s manga). But particularly screenwriters Jamie Moss, William Wheeler, and Ehren Kruger, who do not have much experience in the sci-fi field, implemented some small but very significant alterations that fundamentally changed the nature of the Ghost in the Shell concept. Instead of depicting Motoko Kusanagi as an experienced veteran leader, she was depicted as an inexperienced rookie, thereby robbing the film of its central source of power. In effect, la 2017 Ghost in the Shell had the visual aesthetic and some of the plot points of the 1995 original but didn’t retain the original characterizations and many of the original concepts. It’s a film without enough faith in the source material to literally adapt the source material. Rodriguez & Cameron, moreover, deserve great credit for entirely ignoring potential external criticisms over whitewashing, sexism, or diversity. James Wong’s Dragonball: Evolution adapted a Chinese legend while stunt casting a single Chinese actor in a supporting role. Moreover, Wong clearly succumbed to external and studio pressures, resulting in a heavily compromised film bearing little resemblance in character, personality, and theme, to its source material. Rupert Sanders, while directing GitS as only his second feature film, defended against claims of whitewashing yet still made the principle a narrative turning point in his film when the concept was never part of the source material. Rodriguez & Cameron simply adapted the manga literally, as they saw it, resulting in a picture (largely) unburdened by external social criticisms.

Unlike Rupert SandersGhost in the Shell, which fundamentally re-envisioned the character of Motoko Kusanagi, or James Wong’s Dragonball: Evolution and Adam Wingard’s Death Note (2017) that drasticallyAmericanizedtheir source material, the most successful Western manga adaptations, including Christophe Gans’ 1995 Crying Freeman and Robert RodriguezAlita, have been especially faithful to the themes and characterizations of their sources. James Cameron’s Alita screenplay cut and pasted liberally from Kishiro’s manga and its anime adaptation, but Cameron’s original additions were very minor and were careful not to alter the spirit and tone of the source story. So a simple lesson is, “If it ain’t broke, don’t fix it.If the original manga is good enough to be worth adapting, it’s likely good enough as is, without tune-ups and vast alteration by someone who is not the original creator. Par exemple, Tatsuo Yoshida’s Mach Go Go Go has been popular since 1966. The Wachowski Brothers’ 2008 Speed Racer movie was vibrantly colorful and entertaining but was only loosely inspired by Yoshida’s original manga.

Toho has specifically requested that J.J. Abramsforthcoming Your Name adaptation beWesternizedrather than a literal adaptation of Makoto Shinkai’s original movie. So approaching that film as a manga adaptation may be a moot point. Possible American live-action adaptations of titles including Lupin III, Cowboy Bebop, One Piece, et Mobile Suit Gundam could potentially succeed artistically and critically, if not financially, if they’re handled faithfully with care. These titles are ones that have an inherent global appeal, that aren’t necessarily grounded in Asian perspective. To be truly successful these adaptations need to be produced by creative principals who respect and appreciate the integrity of the source material, principals who actually want to adapt rather than re-write. These franchises also need sufficient budget to look fully convincing. L' Alita movie was reportedly a very expensive $170 million production. And it’s been universally praised for putting its budget up on screen. By comparison, la 2017 Ghost in the Shell cost $110 million and does periodically suffer from under-production. Cependant, I’m far more skeptical over the possible American adaptations of titles including Lionsgate’s Naruto and Warner Bros.Akira, Attack on Titan, et Bleach. Jubei Ninpucho ~ Ninja Scroll is a very traditionalist samurai story, albeit one with over-the-top violence and supernatural aspects. But Hollywood is capable of producing a convincing samurai film, either traditional (2003’s The Last Samurai, or fantastical: 2013’s 47 Ronin). A revisionist, cartoonish ninja movie, toutefois, is unlike anything ever before attempted by Hollywood. Naruto obviously works well in manga and anime form. But my instinct suggests that a mainstream American movie producer will immediately presume that American moviegoers won’t suspend disbelief for a ninja who wears an orange jumpsuit. I simply have a lot of difficulty imaging an American Naruto movie that remains faithful to the spirit of Masashi Kishimoto’s manga. également, Bleach is another manga grounded in the same paganistic concepts as Death Note. If Death Note needed to be heavily Americanized, I shudder to imagine how much Bleach, with its traditional Japanese hakama costumes, samurai guilds, and impractically exaggerated swords, would be altered and Americanized to conform to the assumptions of mainstream American taste. Akira isn’t necessarily an inherently Japanese story, but conceptually it’s a highly complex, moral and political thriller about human rights, discrimination, politics, and the nature of humanity. In effect, it’s thematically comparable to Ghost in the Shell. Yet I immediately envision an American adaptation concentrating on biker gangs, drug abuse, and exploitative psychic horror. Sadly, even Japan wasn’t able to craft a faithful Shingeki no Kyojin movie franchise. If Japan can’t create a faithful live-action adaptation of Attack on Titan, I must wonder how heavily the original manga may be altered for an American adaptation.

Alita: Battle Angel has proven that the secret to a successful manga adaptation is so simple that it’s easy to overlook. Select a title for adaptation that doesn’t need to be heavily altered for mainstream American consumption. Base the adaptation decision on the characteristics of the material itself, not on its transitory popularity. Then adapt the original material as faithfully as possible. One of the reasons why anime are frequently so popular is because they virtually use their original manga as storyboards. American adaptations shouldn’t seek to Americanize the source manga. If the source material needs to beAmericanized,” then it’s not ideal material for adaptation. Instead just license the title for a complete American re-interpretation, as Abramsupcoming Your Name theoretically will be. Dragonball: Evolution proved that an American Dragonball movie just isn’t Dragonball when Son Goku’s personality is completely different. Ghost in the Shell (2017) demonstrated that an American Ghost in the Shell isn’t as satisfying when Motoko Kusanagi’s role and personality have been completely undermined. Cependant, Alita: Battle Angel is possibly the world’s most successful live-action manga adaptation. And it’s as literal to the original manga as practically possible.

Partager

Question:
I know you had a column recently on Battle Angel Alita and you’re probably impressed with the reception where fans and some film critics are commenting this is the truest adaptation of a live action film based on a manga to date by the film Director Robert Rodriguez andAvatarcreator James Cameron, even the manga creator Yukito Kishiro was impressed in your opinion what factors that the writers and producers gotten right with this adaptation compare to others in the past like say the live action Ghost In The Shell, Dragon Ball Evolution, Crying Freeman and what does that mean to ‘Development In Hellprojects like Ninja Scroll, Akira, Bubblegum Crisis and a rumoured Hellsing live action (just speculation)

Answer:
The lessons to be learned from the success of Robert Rodriguez & James Cameron’s Alita: Battle Angel movie are multiple and subtle, which is why I’m afraid that they likely won’t be learned from this film alone. Reflection upon particularly Western live-action adaptations of manga suggests that an initial concern of great importance is the adaptability of the original narrative. Manga series including Gunnm et Crying Freeman are action titles starring a singular character. While these titles exhibit some characteristics of Asian and particularly Japanese philosophy and culture, they’re not inextricably tied to Asian philosophy. Dragon Ball & Death Note, par exemple, are much more intrinsically steeped in Asian culture. Dragon Ball is essentially Akira Toriyama’s hybridization of the Chinese Saiyuki legend. Death Note is fundamentally grounded in the pagan concept of shinagami. On one hand Ghost in the Shell is an action title starring a singular character, mais GitS is also a concentrated philosophical, meditative, and reflective drama deeply in the vein of Ridley Scott’s Blade Runner. Interconnected with the original material itself is also the nature of the screenwriter and director chosen to handle the adaptation. Rodriguez & Cameron are an optimal choice for a number of reasons. Both men have made a career of creating crowd-pleasing action films. Moreover, their skills and experiences balance and complement each other well. Rodriguez has made a career of maximizing low budgets, of being ingenious and inventive. Cameron, d'autre part, has made a career of sparing no expense to capture complete believability. Both creators have been fans of comics & sci-fi for decades, so both were clearly committed to visualizing and adapting Yukito Kishiro’s original vision, not necessarily creating their own interpretation of Kishiro’s work. 2017 Ghost in the Shell director Rupert Sanders admirably attempted to largely stay faithful to Mamoru Oshii’s 1995 original (as the 1995 movie is far more Oshii’soriginalfilm than a direct adaptation of Masamune Shirow’s manga). But particularly screenwriters Jamie Moss, William Wheeler, and Ehren Kruger, who do not have much experience in the sci-fi field, implemented some small but very significant alterations that fundamentally changed the nature of the Ghost in the Shell concept. Instead of depicting Motoko Kusanagi as an experienced veteran leader, she was depicted as an inexperienced rookie, thereby robbing the film of its central source of power. In effect, la 2017 Ghost in the Shell had the visual aesthetic and some of the plot points of the 1995 original but didn’t retain the original characterizations and many of the original concepts. It’s a film without enough faith in the source material to literally adapt the source material. Rodriguez & Cameron, moreover, deserve great credit for entirely ignoring potential external criticisms over whitewashing, sexism, or diversity. James Wong’s Dragonball: Evolution adapted a Chinese legend while stunt casting a single Chinese actor in a supporting role. Moreover, Wong clearly succumbed to external and studio pressures, resulting in a heavily compromised film bearing little resemblance in character, personality, and theme, to its source material. Rupert Sanders, while directing GitS as only his second feature film, defended against claims of whitewashing yet still made the principle a narrative turning point in his film when the concept was never part of the source material. Rodriguez & Cameron simply adapted the manga literally, as they saw it, resulting in a picture (largely) unburdened by external social criticisms.

Unlike Rupert SandersGhost in the Shell, which fundamentally re-envisioned the character of Motoko Kusanagi, or James Wong’s Dragonball: Evolution and Adam Wingard’s Death Note (2017) that drasticallyAmericanizedtheir source material, the most successful Western manga adaptations, including Christophe Gans’ 1995 Crying Freeman and Robert RodriguezAlita, have been especially faithful to the themes and characterizations of their sources. James Cameron’s Alita screenplay cut and pasted liberally from Kishiro’s manga and its anime adaptation, but Cameron’s original additions were very minor and were careful not to alter the spirit and tone of the source story. So a simple lesson is, “If it ain’t broke, don’t fix it.If the original manga is good enough to be worth adapting, it’s likely good enough as is, without tune-ups and vast alteration by someone who is not the original creator. Par exemple, Tatsuo Yoshida’s Mach Go Go Go has been popular since 1966. The Wachowski Brothers’ 2008 Speed Racer movie was vibrantly colorful and entertaining but was only loosely inspired by Yoshida’s original manga.

Toho has specifically requested that J.J. Abramsforthcoming Your Name adaptation beWesternizedrather than a literal adaptation of Makoto Shinkai’s original movie. So approaching that film as a manga adaptation may be a moot point. Possible American live-action adaptations of titles including Lupin III, Cowboy Bebop, One Piece, et Mobile Suit Gundam could potentially succeed artistically and critically, if not financially, if they’re handled faithfully with care. These titles are ones that have an inherent global appeal, that aren’t necessarily grounded in Asian perspective. To be truly successful these adaptations need to be produced by creative principals who respect and appreciate the integrity of the source material, principals who actually want to adapt rather than re-write. These franchises also need sufficient budget to look fully convincing. L' Alita movie was reportedly a very expensive $170 million production. And it’s been universally praised for putting its budget up on screen. By comparison, la 2017 Ghost in the Shell cost $110 million and does periodically suffer from under-production. Cependant, I’m far more skeptical over the possible American adaptations of titles including Lionsgate’s Naruto and Warner Bros.Akira, Attack on Titan, et Bleach. Jubei Ninpucho ~ Ninja Scroll is a very traditionalist samurai story, albeit one with over-the-top violence and supernatural aspects. But Hollywood is capable of producing a convincing samurai film, either traditional (2003’s The Last Samurai, or fantastical: 2013’s 47 Ronin). A revisionist, cartoonish ninja movie, toutefois, is unlike anything ever before attempted by Hollywood. Naruto obviously works well in manga and anime form. But my instinct suggests that a mainstream American movie producer will immediately presume that American moviegoers won’t suspend disbelief for a ninja who wears an orange jumpsuit. I simply have a lot of difficulty imaging an American Naruto movie that remains faithful to the spirit of Masashi Kishimoto’s manga. également, Bleach is another manga grounded in the same paganistic concepts as Death Note. If Death Note needed to be heavily Americanized, I shudder to imagine how much Bleach, with its traditional Japanese hakama costumes, samurai guilds, and impractically exaggerated swords, would be altered and Americanized to conform to the assumptions of mainstream American taste. Akira isn’t necessarily an inherently Japanese story, but conceptually it’s a highly complex, moral and political thriller about human rights, discrimination, politics, and the nature of humanity. In effect, it’s thematically comparable to Ghost in the Shell. Yet I immediately envision an American adaptation concentrating on biker gangs, drug abuse, and exploitative psychic horror. Sadly, even Japan wasn’t able to craft a faithful Shingeki no Kyojin movie franchise. If Japan can’t create a faithful live-action adaptation of Attack on Titan, I must wonder how heavily the original manga may be altered for an American adaptation.

Alita: Battle Angel has proven that the secret to a successful manga adaptation is so simple that it’s easy to overlook. Select a title for adaptation that doesn’t need to be heavily altered for mainstream American consumption. Base the adaptation decision on the characteristics of the material itself, not on its transitory popularity. Then adapt the original material as faithfully as possible. One of the reasons why anime are frequently so popular is because they virtually use their original manga as storyboards. American adaptations shouldn’t seek to Americanize the source manga. If the source material needs to beAmericanized,” then it’s not ideal material for adaptation. Instead just license the title for a complete American re-interpretation, as Abramsupcoming Your Name theoretically will be. Dragonball: Evolution proved that an American Dragonball movie just isn’t Dragonball when Son Goku’s personality is completely different. Ghost in the Shell (2017) demonstrated that an American Ghost in the Shell isn’t as satisfying when Motoko Kusanagi’s role and personality have been completely undermined. Cependant, Alita: Battle Angel is possibly the world’s most successful live-action manga adaptation. And it’s as literal to the original manga as practically possible.

Partager

2018 ne sera pas dans les mémoires comme une année remarquable dans l'histoire animée que l'année n'a pas produit une série télévisée d'importance historique. Aucun des chefs-d'œuvre avoués est passé de cette année. Même plus belles productions de l'année ne sont pas « tous les temps meilleurs » spectacles de calibre. Pas plus que 2018 produire des spectacles mémorablement terribles qui descendrai dans les flammes de l'histoire. Hors série continue et montre apparemment officiellement reconnu comme saisons continue plutôt que de nouvelles séries, et en excluant également un nombre record de productions chinoises diffusées en dubs japonais, comprenant Jikken-hin Kazoku, Pour être Héroïne, onmyouji: Heian Monogatari, Ani de Tsukeru Kusuri wa Nai! 2, et temps, Mimi ga Mieteru ans!, 2018 premiered 249 nouvelle émission terrestre & série streaming anime web et promotions one-shot. J'ai eu la chance de regarder un épisode échantillon complet de 243 d'eux. J'ai même réussi à regarder 75 de nouveau l'anime à la fin de cette année.

Mes sélections personnelles comme le meilleur anime TV de 2018 commencer avec Sora Yori mo Tooi Basho, l'histoire de quatre lycéennes qui jurent de visiter l'Antarctique. En privé, chacun des quatre ports une anxiété personnelle énorme, de sorte que leur voyage collective leur permet la possibilité de contester et de surmonter leurs peurs les plus intimidants. L'histoire, qui est ostensiblement une tranche de drame de la vie, fleurit rapidement dans une beaucoup plus importante et enrichissante expérience visuelle grâce au script Jukki Hanada et la direction exceptionnelle de Atsuko Ishizuka. La série se concentre également sur le développement des caractères et représentant la petite, réalistes nuances quotidiennes avec des adolescents impliqués et se joindre à participer à une expédition scientifique en Antarctique civile. Des détails subtils, y compris le parallèle des deux teen girl Shirase Kobuchizawa et chef adulte Gin Todo en difficulté par la culpabilité du survivant mettent l'accent sur la profondeur thématique. également, par exemple, le cadrage de la séparation entre Mari & Megu au sanctuaire dans l'épisode cinq est l'un des coups de composition la plus symbolique de sens que j'ai jamais vu dans un dessin animé. Et leur “rompre” scène – en particulier la distance de chemin entre les deux filles est utilisé – est percutant et fait un excellent usage du symbolisme visuel. Comme toute la série, le point culminant de l'épisode 12 est beaucoup plus nuancée qu'il n'y paraît. Sur la première impression, il est une conclusion réconfortante. Mais sur d'autres téléspectateurs considération peuvent se rendre compte qu'il est en fait assez doux-amer et peut-être même une tragédie pure et simple. D'un épisode à, rien du spectacle est particulièrement flashy ou impressionnant saisissante, et le spectacle n'est pas un point de repère mémorable dans l'histoire anime, mais toujours la qualité de l'animation de l'émission, direction, rédaction, caractérisation, développement de l'histoire, et attention aux détails sont exceptionnels.

Masao Otake de 2010 manga de comédie Hinamatsuri c'est bien, mais il est directeur Kei Oikawa de 2018 adaptation animée qui apporte vivement le manga à la vie et beaucoup plus d'impact imprègne et l'accent sur son sein. L'histoire est un hybride de sitcom de la politique yakuza traditionnelle et combat psychique chez les adolescentes. Un underboss yakuza a un fugitif adolescent psychique voyage dans le temps se matérialise littéralement dans son appartement, donc il adopte l'adolescent mécontente et paresseux comme une fille porteuse. l'attitude désintéressée et fatigué de la jeune Hina est une grande source de comédie, mais la force de la série anime est en fait dans ses personnages et les thèmes de soutien. Anzu rival autoproclamé de Hina semble d'abord comme un typique « yankee,» Une version féminine de Yu Yu Hakusho de Kuwabara ou Rurouni Kenshin de Sanosuke. Mais son arc de l'histoire révèle sa personnalité inattendue de conscience et permet au spectacle son occasion rare d'examiner largement sans-abri de Tokyo qui est souvent exclu de l'anime d'être trop lourd et inconfortable d'un sujet à traiter. également, L'histoire de Hitomi brille une lumière satirique sur les frustrations du système d'emploi japonais. Et l'histoire de Mao permet au spectacle de se défouler avec le film de kung fu et Naufragé parodie. En fin de compte la série animée, beaucoup plus que le manga d'origine, animation utilise, caractérisation, rédaction, et les scripts pour livrer une comédie loufoque hilarante qui consacre aussi beaucoup d'attention aux concepts empathiques y compris la famille, considération pour les personnes défavorisées et sans-abri, et la responsabilité personnelle empathique. Hinamatsuri est une comédie hilarante rauques qui est aussi souvent profondément sincère et émouvant.

Je dois reconnaître Koi wa Ameagari pas vous ni avec une mise en garde importante. Le drame romantique mai-Décembre tourne autour d'une fille adolescente qui abrite un coup de foudre pour sa famille d'âge moyen répudiée patron de directeur de restaurant. Le spectacle est particulièrement intéressant de plusieurs façons. Immédiatement et, évidemment, il semble que la production d'un début des années 90. Bien qu'il soit 2018 animation basée sur un 2014 manga, le spectacle ressemble visuellement plus Madhouse de 1989 yawara anime la télévision et le Studio Deen de 1988 Patlabor. Ainsi, alors que la conception de l'art daté prospectifs peuvent dissuader certains téléspectateurs contemporains, il est aussi une bouffée d'air frais agréable par rapport à l'aspect de tous les manga contemporain. En particulier les personnages principaux Akira Tachibana et Masami Kondo sont profondément nuancées et facettes parce que la narration passe tellement de temps sur eux. Les téléspectateurs se connaître et de prendre soin de ces deux personnages qui ont tous deux victimes d'un bloc d'achoppement émotionnel qui entrave leur progression. Mais à peu près à mi-chemin à travers la série, les changements de l'histoire d'un roman à un drame quand le spectacle se concentre sur deux personnages représentant les individuellement encore en parallèle et difficile à surmonter leurs propres obstacles psychologiques. La série peut être admirable pour le respect de ses personnages, mais être fidèle aux personnages au détriment de la satisfaction des téléspectateurs laisse les téléspectateurs rationnellement impressionné mais émotionnellement non satisfaits. Sur une note de côté, Le thème de fin de l'émission, Aimer’s “Ref:pluie,» Peut être la meilleure chanson thème anime de l'année.

Avec planète est littéralement un hybride Gadguard, Genma Taisen, et Star Trek. L' 2018 série originale se sentait très rappelle le caractère imprévisible « évier de cuisine » d'anime âge d'or, y compris la Ville, harmagedon, et Battle Royale lycée. Intéressant, caractérisations dynamiques à partir d'une distribution diversifiée et agréable, animation passionnante du studio faire le spectacle J. C. Staff éminemment gratifiante, bien que son rythme rapide peut effectivement été mieux servis avec une plus deux longueurs de cour qui aurait permis à plus de suspense et compte tenu de l'histoire une bouffée d'oxygène. caractères Seeing y compris Soya, Benika, Yosuke, Takezo, et même révéler généralissime leurs motivations secrètes et changer les allégeances et les valeurs philosophiques plusieurs fois ajoute changer leurs points de vue nuance fascinante du spectacle. Mais tous ces changements se produisent si rapidement compromet leur impact. Comme tous les meilleurs manga de cette année, Avec planète n'est pas impeccable, mais il est très agréable pour de nombreuses raisons et à bien des égards.

En réalité, Je n'ai pas top cinquième choix. Plutôt, J'ai un certain nombre de choix de valeur brève mention runner-up.

Asobi Asobase & Chio-chan no Tsuugakuro ont tous deux été outrageusement et hilarante imprévisiblement à leur meilleur, mais ni spectacle avait de grandes aspirations qui ne contrevenait pas solidement cohérente. De même Pop équipe Epic était brillante quand à son meilleur, mais surtout trop ésotérique et limitée dans son champ d'application d'élever son statut durable. dix épisodes de Netflix agressif Retsuko laisse les téléspectateurs qui veulent plus, mais des modifications mineures de la série Web plus tôt me aggravé. En dépit d'être un dérivé de bit, Darling, dans le FranXX est sans doute le plus ambitieux mecha et unique de l'année animée. Pourtant, il se sentait encore comme jamais tout à fait symphonized la façon dont il voulait. Masaaki Yuasa déçoit rarement. Devilman Crybaby téléspectateurs livré tout prévu et espéré, mais finalement le spectacle est juste un greatest hits remix des éléments du Prieur Homme diabolique adaptations. Hanebad Exposée animation exceptionnelle, mais la narration d'une manière extravagante inégale. Violet Evergarden est sans doute à la recherche montrent plus exceptionnel de l'année, mais le scénario de la série n'a pas augmenté sa qualité visuelle et luxuriante animation. Mason à Soto & Kokkoku sont parmi les plus forts récits uniques de l'année, mais malheureusement, tous deux victimes d'actes finaux décevantes. un Musume: joli Derby loin dépassé les attentes faibles avec caractérisations fortes et une grande quantité de respect pour l'intelligence du public. Mais l'exécution exceptionnelle ne suffit pas d'élever une histoire avec des ambitions centriste. Yuru Camp est cette année le meilleur iyashikei anime, mais il est un peu redondant et limitée dans sa portée par rapport à la série, y compris Non Non Biyori, Natsume Yujincho, Amanchu, et Kemono amis. Alors que j'ai apprécié Yuru Camp un peu, Hakumei à Kochi était mon préféré iyashikei animé de l'année.

Je ne savoure pas reconnaître mauvais manga, mais 2018 semblait produire un nombre anormalement élevé de productions télévisées mitigées allant de mal à près indiciblement abyssale. Parmi eux: Full Metal Panic! Victoire invisible, cadre Hakata Tonkotsu, Masque Hero, LadySpo, Ore ga Suki nano wa Imouto dakedo Imouto ja Nai, Satsuriku no Tenshi, Sora Umi no Aida, RErideD: Tokigoe pas Derrida, et Tenrou: Sirius Jaeger.

Liste de 2018 la télé & web anime (Les titres que je ne montre aucune de sont en gras):

25-sai pas Jyoshikousei
3D Kanojo: Fille réelle
A.I.C.O. Incarnation [Netflix animé]
agressif Retsuko [Netflix animé]
faim: Tensai Ningyou
Aikatsu amis!
Akanesasu Shoujo
Akkun à Kanojo
Akuma no Mel mumemu-Chan [web anime]
Alice ou Alice
Amai Choubatsu: Watashi wa Kanshu Senyou Pet
Amanchu! Advance
Angolmois: Genkou Kassenki
Anima Yell!
Aru Zombie Shoujo pas Sainan
Asobi Asobase
B: Le début [Netflix animé]
Retour Street Girls ~ ~ Gokudolls
Baki [Netflix animé]
Bakumatsu ~ Circulation bakumatsu Kareshi Gaiden ~
Hunter lapin Ba Bar
BANANA FISH
rêve BANG! croupe?Pico
Basilic: narguilé Ninpouchou
Beatless
Belzébuth-vous pas maman Okinimesu.
Beyblade Burst Chouzetsu
hibou Binan Chikyuu Bouei-bu heureux baiser!
Butlers: Tous motose Mo Mo est gatari
Caligula
Captain Tsubasa (2018)
Cara à Otama Jakushi Shima
Capteur carte Sakura: Effacer carte-poule
cardfight!! avant-garde
Carnival Phantasm Sélection
Chihayafuru Syuukasen
Chio-chan no Tsuugakuro
Chuukan Kanriroku Tonegawa
agrumes
filles Comic
Conception
Cutie Honey Universe
Dagashi Kashi 2
Dakaretai Otoko 1-i ni Odosarete imasu.
Dame × Prince-Anime Caravan
Darling, dans le FranXX
Mort Mars kara hajimaru Isekai Kyousoukyoku
Devidol!
Devilman Crybaby [Netflix animé]
Ligne du diable
Dorei-ku L'animation
Autobus à impériale! Doug & Kirill
Duel Masters!
Emiya-san Chi ne Kyou pas Gohan
Fate / EXTRA Dernière Encore
Libre!-Plongez dans l'avenir-
Full Metal Panic! Victoire invisible
Fumikiri Jikan
Future Card Shin Buddyfight
Gaikotsu Shotenin Honda-san
Gakuen Nounous
Gakuen Basara
Gan Gan Ganko-chan deuxième série
gdgd Parti hommes
Ge Ge Ge no Kitaro (6e série)
Ginga Eiyuu Densetsu: La nouvelle thèse – Kaikou
Gintama: Gin no Tamashii-poule
Slayer gobelin
or Kamuy
Personne ne Grancrest
grand Bleu
Gundam Divers Build
Gurazeni
Gyakuten Saiban: Je suis “Shinjitsu,” EIES! Saison 2
cadre Hakata Tonkotsu
Hakumei à Kochi
Hakyuu Hoshin-L'Investiture des Dieux
Hanasaku Kizuna pas Romantan [web anime]
Ebadi!
Han-Gyaku, pourquoi Million Arthur
Happy Life sucre
Harukana Recevez
Hashiri Tsuzukete Yokattatte.
Hataraku Onii-san!
Hataraku Onii-san! À 2!
Hataraku Saibou
Masque Hero [Netflix animé]
High School DxD Hero
Fille High Score
Himote Maison
Hinamatsuri
Hinomaru Zumou
Mason à Soto
Hoshi no Shima pas Nyanko
Hugtto! Precure
Hyakuren pas Haou à Seiyaku no Valkyria
Idolish Seven
Idolm @ ster Cendrillon filles Gekijou 3ème saison
Inazuma Eleven: Ares pas Tenbin
Inazuma Eleven: Orion pas Kokuin
Entrée [Netflix animé]
Irozuku Sekai no Ashita kara
Isekai Izakaya: Koto Aitheria pas Izakaya Nobu [web anime]
Isekai Maou à Shoukan Shoujo pas Dorei Majutsu
ÎLE
Itou Junji: Collection
Itsuka AERU Kimi ni [web anime]
Iya na Kao Sare Nagara Opantsu Misete Moraitai [web anime]
Jashin-chan Dropkick
Jingai-san no Yome
World No. Kimyou na Knows: Ougon no Kaze
Joshi Ochi!!: 2-kai kara Ero Musume ga kite Futte, Ore no Arena!?
Juushinki Pandora
Kaijuu filles: seigneurs ultra Kaijuu Keikaku 2ème saison
Kakuriyo pas Yadomeshi
Kamisama Minarai Himitsu no Cocotama: Natsu da! Oohashagi spécial
Karakai Jouzu pas Takagi-san
Karakuri Circus
Kaze ga Tsuyoku Fuiteiru
Kekeroke
Ken et Ken: Aoki Kagayaki
morsures tuer
Kimi no Basho e Matsu [web anime]
kirakira Bonne?Hirake! Cocotama
Kiratto Pri?chan
Kishuku Gakkou pas Juliette
Kitsune no Koe
Koi wa Ameagari pas vous ni
Kokkoku
Koneko no Chi: Ponponra Dairyokou
Kuroneko Monroe
Kyoto Teramachi Sanjou pas Holmes
LadySpo
La dernière Epoque: Owarinaki Rasen pas Monogatari
Layton Mystère Tanteisha: Katri aucun fichier de Nazotoki
En direct d'animation Coeur x Algorhythm 2ème série
Seigneur de Vermilion: Guren no Ou
LOST SONG [Netflix animé]
Lostorage confondait WIXOSS
Lupin la troisième: Partie 5
Mahou Shoujo Ore
Mahou Shoujo Site
PRINCIPAUX 2
certaines mamans
fille de fées
Saison Marvel Avengers Future 2
Megalo Box
Merc Histoire: Mukiryoku Shounen Bin no naka pas Shoujo
Miira pas Kaikata
Mitchiri Neko
Couleurs MITSUBOSHI
Muhyo à Roujii pas Mahouritsu Jimusho Soudan
Nanatsu pas Bitoku
Nanatsu pas Taizai: Imashime pas Fukkatsu
Nani Nani Iro pas [web anime]
Pas étonnant que Tenbin
Okojo à Yamane
Okoshiyasu, Chitose-chan
Omae wa Mada Gunma wo Shiranai
Une deuxième saison Chambre
Ongaku Shoujo
Ore ga Suki nano wa Imouto dakedo Imouto ja Nai
Ore-Tacha Youkai Ningen G
Oshiete Mahou no Pendulum: Fairilu ISR ISR
oshiri Tantei
Otona no Bouguya-san
Overlord II
Overlord III
PERSONA5 l'animation
Phantom dans le crépuscule
Piano no Mori
Avec planète
Pochitto Hatsumei: Pikachin-Kit
Pop équipe Epic
Puzzle & Dragon
Radiant
Ramen Daisuki Koizumi-san
Relâchez le Sypce
RErideD: Tokigoe pas Derrida [Netflix animé]
Robot Filles Neo [web anime]
Rokuhoudou Yotsuiro Biyori
Ryuuou pas Oshigoto!
Saiki Kusuo pas ?-2ème saison
pas Sakura ~ Chikai Marronni ? Yell Higashi pas Asuka Shimotsuke-shi o Yell!~
Sanrio Danshi
Saredo Tsumibito wa Ryuu à Odoru
Satsuriku no Tenshi
Seishun Buta Yarou wa Bunny Girl Senpai no Yume wo Minai
Senjuushi
Senran Kagura: Shinovi Maître – Tokyo Youma-poule
Sentai Heroes Sukiyaki force: Gunma pas Heiwa wo Negau Saison e, œil
Shichisei pas Subaru
Shinkansen Robo Shinkalion Henkei
Shinya! Tensai Bakabon
Shoujo ? Kageki Starlight Revue
Shuudengo, capsule Hôtel, Joushi de Binetsu Utawaru Yoru.
démarrage lent
police SNS [web anime]
Sono Toki, Kanojo wa.
Sora Umi no Aida
Sora Yori mo Tooi Basho
Souten NX Ken: Regenesis
espace Bug
SSSS.GRIDMAN
St. seiya: Saintia Shou
Steins;Porte 0
Sunohara-sou pas Kanrinin-san
Super Dragon Ball Heroes [web anime]
Épée Art en ligne alternatif: Gun gale en ligne
Épée Art en ligne: Alicization
Swordgai L'animation [Netflix animé]
Tachibana-kan Lie Angle
Levez-vous Koi wo Shinai
Takunomi.
Televi Yarou Nanana
Tenrou: Sirius Jaeger
Tensei Shitara Slime Datta Ken
Le iDOLM @ STER côté M: Wake atte Mini!
Thunderbolt Fantaisie deuxième saison
Toaru Majutsu no Index III
Toji no Miko
Tokyo Goule:ré
Tonari no Kyuuketsuki-san
Tsukumogami Kashimasu
Tsurune: Kazemai Koukou Kyuudou-bu
Uchi pas Pucelle ga Uzasugiru!
Uchi pas Oochopus
Uchuu Senkan nous en vie
Ulysse: Jeanne d'Arc à Renkin no Kishi
un Musume: joli Derby
Usagi pas Mathew
Violet Evergarden
Discuter Buzz virtuel
Wakaokami de Shougakusei!
Wotaku Koi wa Muzukashii
Yagate Kimi ni Naru
Yakiniku-dix Sengoku
Yakusoku pas Nanaya Matsuri [web anime]
Yama no Susume 3ème saison
Yami Shibai 6e saison
youkai Montre: ombre côté
en selle, sakamichi: ligne Glory
Yume Oukoku à Nemureru 100 Nin pas Euclide-sama
Yuragi-sou pas Yuuna-san
Yuru Camp
Zannen na Ikimono Jiten
Zoids sauvage
Zoku Touken Ranbu: Hanamaru
Zombieland Saga

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2018 ne sera pas dans les mémoires comme une année remarquable dans l'histoire animée que l'année n'a pas produit une série télévisée d'importance historique. Aucun des chefs-d'œuvre avoués est passé de cette année. Même plus belles productions de l'année ne sont pas « tous les temps meilleurs » spectacles de calibre. Pas plus que 2018 produire des spectacles mémorablement terribles qui descendrai dans les flammes de l'histoire. Hors série continue et montre apparemment officiellement reconnu comme saisons continue plutôt que de nouvelles séries, et en excluant également un nombre record de productions chinoises diffusées en dubs japonais, comprenant Jikken-hin Kazoku, Pour être Héroïne, onmyouji: Heian Monogatari, Ani de Tsukeru Kusuri wa Nai! 2, et temps, Mimi ga Mieteru ans!, 2018 premiered 249 nouvelle émission terrestre & série streaming anime web et promotions one-shot. J'ai eu la chance de regarder un épisode échantillon complet de 243 d'eux. J'ai même réussi à regarder 75 de nouveau l'anime à la fin de cette année.

Mes sélections personnelles comme le meilleur anime TV de 2018 commencer avec Sora Yori mo Tooi Basho, l'histoire de quatre lycéennes qui jurent de visiter l'Antarctique. En privé, chacun des quatre ports une anxiété personnelle énorme, de sorte que leur voyage collective leur permet la possibilité de contester et de surmonter leurs peurs les plus intimidants. L'histoire, qui est ostensiblement une tranche de drame de la vie, fleurit rapidement dans une beaucoup plus importante et enrichissante expérience visuelle grâce au script Jukki Hanada et la direction exceptionnelle de Atsuko Ishizuka. La série se concentre également sur le développement des caractères et représentant la petite, réalistes nuances quotidiennes avec des adolescents impliqués et se joindre à participer à une expédition scientifique en Antarctique civile. Des détails subtils, y compris le parallèle des deux teen girl Shirase Kobuchizawa et chef adulte Gin Todo en difficulté par la culpabilité du survivant mettent l'accent sur la profondeur thématique. également, par exemple, le cadrage de la séparation entre Mari & Megu au sanctuaire dans l'épisode cinq est l'un des coups de composition la plus symbolique de sens que j'ai jamais vu dans un dessin animé. Et leur “rompre” scène – en particulier la distance de chemin entre les deux filles est utilisé – est percutant et fait un excellent usage du symbolisme visuel. Comme toute la série, le point culminant de l'épisode 12 est beaucoup plus nuancée qu'il n'y paraît. Sur la première impression, il est une conclusion réconfortante. Mais sur d'autres téléspectateurs considération peuvent se rendre compte qu'il est en fait assez doux-amer et peut-être même une tragédie pure et simple. D'un épisode à, rien du spectacle est particulièrement flashy ou impressionnant saisissante, et le spectacle n'est pas un point de repère mémorable dans l'histoire anime, mais toujours la qualité de l'animation de l'émission, direction, rédaction, caractérisation, développement de l'histoire, et attention aux détails sont exceptionnels.

Masao Otake de 2010 manga de comédie Hinamatsuri c'est bien, mais il est directeur Kei Oikawa de 2018 adaptation animée qui apporte vivement le manga à la vie et beaucoup plus d'impact imprègne et l'accent sur son sein. L'histoire est un hybride de sitcom de la politique yakuza traditionnelle et combat psychique chez les adolescentes. Un underboss yakuza a un fugitif adolescent psychique voyage dans le temps se matérialise littéralement dans son appartement, donc il adopte l'adolescent mécontente et paresseux comme une fille porteuse. l'attitude désintéressée et fatigué de la jeune Hina est une grande source de comédie, mais la force de la série anime est en fait dans ses personnages et les thèmes de soutien. Anzu rival autoproclamé de Hina semble d'abord comme un typique « yankee,» Une version féminine de Yu Yu Hakusho de Kuwabara ou Rurouni Kenshin de Sanosuke. Mais son arc de l'histoire révèle sa personnalité inattendue de conscience et permet au spectacle son occasion rare d'examiner largement sans-abri de Tokyo qui est souvent exclu de l'anime d'être trop lourd et inconfortable d'un sujet à traiter. également, L'histoire de Hitomi brille une lumière satirique sur les frustrations du système d'emploi japonais. Et l'histoire de Mao permet au spectacle de se défouler avec le film de kung fu et Naufragé parodie. En fin de compte la série animée, beaucoup plus que le manga d'origine, animation utilise, caractérisation, rédaction, et les scripts pour livrer une comédie loufoque hilarante qui consacre aussi beaucoup d'attention aux concepts empathiques y compris la famille, considération pour les personnes défavorisées et sans-abri, et la responsabilité personnelle empathique. Hinamatsuri est une comédie hilarante rauques qui est aussi souvent profondément sincère et émouvant.

Je dois reconnaître Koi wa Ameagari pas vous ni avec une mise en garde importante. Le drame romantique mai-Décembre tourne autour d'une fille adolescente qui abrite un coup de foudre pour sa famille d'âge moyen répudiée patron de directeur de restaurant. Le spectacle est particulièrement intéressant de plusieurs façons. Immédiatement et, évidemment, il semble que la production d'un début des années 90. Bien qu'il soit 2018 animation basée sur un 2014 manga, le spectacle ressemble visuellement plus Madhouse de 1989 yawara anime la télévision et le Studio Deen de 1988 Patlabor. Ainsi, alors que la conception de l'art daté prospectifs peuvent dissuader certains téléspectateurs contemporains, il est aussi une bouffée d'air frais agréable par rapport à l'aspect de tous les manga contemporain. En particulier les personnages principaux Akira Tachibana et Masami Kondo sont profondément nuancées et facettes parce que la narration passe tellement de temps sur eux. Les téléspectateurs se connaître et de prendre soin de ces deux personnages qui ont tous deux victimes d'un bloc d'achoppement émotionnel qui entrave leur progression. Mais à peu près à mi-chemin à travers la série, les changements de l'histoire d'un roman à un drame quand le spectacle se concentre sur deux personnages représentant les individuellement encore en parallèle et difficile à surmonter leurs propres obstacles psychologiques. La série peut être admirable pour le respect de ses personnages, mais être fidèle aux personnages au détriment de la satisfaction des téléspectateurs laisse les téléspectateurs rationnellement impressionné mais émotionnellement non satisfaits. Sur une note de côté, Le thème de fin de l'émission, Aimer’s “Ref:pluie,» Peut être la meilleure chanson thème anime de l'année.

Avec planète est littéralement un hybride Gadguard, Genma Taisen, et Star Trek. L' 2018 série originale se sentait très rappelle le caractère imprévisible « évier de cuisine » d'anime âge d'or, y compris la Ville, harmagedon, et Battle Royale lycée. Intéressant, caractérisations dynamiques à partir d'une distribution diversifiée et agréable, animation passionnante du studio faire le spectacle J. C. Staff éminemment gratifiante, bien que son rythme rapide peut effectivement été mieux servis avec une plus deux longueurs de cour qui aurait permis à plus de suspense et compte tenu de l'histoire une bouffée d'oxygène. caractères Seeing y compris Soya, Benika, Yosuke, Takezo, et même révéler généralissime leurs motivations secrètes et changer les allégeances et les valeurs philosophiques plusieurs fois ajoute changer leurs points de vue nuance fascinante du spectacle. Mais tous ces changements se produisent si rapidement compromet leur impact. Comme tous les meilleurs manga de cette année, Avec planète n'est pas impeccable, mais il est très agréable pour de nombreuses raisons et à bien des égards.

En réalité, Je n'ai pas top cinquième choix. Plutôt, J'ai un certain nombre de choix de valeur brève mention runner-up.

Asobi Asobase & Chio-chan no Tsuugakuro ont tous deux été outrageusement et hilarante imprévisiblement à leur meilleur, mais ni spectacle avait de grandes aspirations qui ne contrevenait pas solidement cohérente. De même Pop équipe Epic était brillante quand à son meilleur, mais surtout trop ésotérique et limitée dans son champ d'application d'élever son statut durable. dix épisodes de Netflix agressif Retsuko laisse les téléspectateurs qui veulent plus, mais des modifications mineures de la série Web plus tôt me aggravé. En dépit d'être un dérivé de bit, Darling, dans le FranXX est sans doute le plus ambitieux mecha et unique de l'année animée. Pourtant, il se sentait encore comme jamais tout à fait symphonized la façon dont il voulait. Masaaki Yuasa déçoit rarement. Devilman Crybaby téléspectateurs livré tout prévu et espéré, mais finalement le spectacle est juste un greatest hits remix des éléments du Prieur Homme diabolique adaptations. Hanebad Exposée animation exceptionnelle, mais la narration d'une manière extravagante inégale. Violet Evergarden est sans doute à la recherche montrent plus exceptionnel de l'année, mais le scénario de la série n'a pas augmenté sa qualité visuelle et luxuriante animation. Mason à Soto & Kokkoku sont parmi les plus forts récits uniques de l'année, mais malheureusement, tous deux victimes d'actes finaux décevantes. un Musume: joli Derby loin dépassé les attentes faibles avec caractérisations fortes et une grande quantité de respect pour l'intelligence du public. Mais l'exécution exceptionnelle ne suffit pas d'élever une histoire avec des ambitions centriste. Yuru Camp est cette année le meilleur iyashikei anime, mais il est un peu redondant et limitée dans sa portée par rapport à la série, y compris Non Non Biyori, Natsume Yujincho, Amanchu, et Kemono amis. Alors que j'ai apprécié Yuru Camp un peu, Hakumei à Kochi était mon préféré iyashikei animé de l'année.

Je ne savoure pas reconnaître mauvais manga, mais 2018 semblait produire un nombre anormalement élevé de productions télévisées mitigées allant de mal à près indiciblement abyssale. Parmi eux: Full Metal Panic! Victoire invisible, cadre Hakata Tonkotsu, Masque Hero, LadySpo, Ore ga Suki nano wa Imouto dakedo Imouto ja Nai, Satsuriku no Tenshi, Sora Umi no Aida, RErideD: Tokigoe pas Derrida, et Tenrou: Sirius Jaeger.

Liste de 2018 la télé & web anime (Les titres que je ne montre aucune de sont en gras):

25-sai pas Jyoshikousei
3D Kanojo: Fille réelle
A.I.C.O. Incarnation [Netflix animé]
agressif Retsuko [Netflix animé]
faim: Tensai Ningyou
Aikatsu amis!
Akanesasu Shoujo
Akkun à Kanojo
Akuma no Mel mumemu-Chan [web anime]
Alice ou Alice
Amai Choubatsu: Watashi wa Kanshu Senyou Pet
Amanchu! Advance
Angolmois: Genkou Kassenki
Anima Yell!
Aru Zombie Shoujo pas Sainan
Asobi Asobase
B: Le début [Netflix animé]
Retour Street Girls ~ ~ Gokudolls
Baki [Netflix animé]
Bakumatsu ~ Circulation bakumatsu Kareshi Gaiden ~
Hunter lapin Ba Bar
BANANA FISH
rêve BANG! croupe?Pico
Basilic: narguilé Ninpouchou
Beatless
Belzébuth-vous pas maman Okinimesu.
Beyblade Burst Chouzetsu
hibou Binan Chikyuu Bouei-bu heureux baiser!
Butlers: Tous motose Mo Mo est gatari
Caligula
Captain Tsubasa (2018)
Cara à Otama Jakushi Shima
Capteur carte Sakura: Effacer carte-poule
cardfight!! avant-garde
Carnival Phantasm Sélection
Chihayafuru Syuukasen
Chio-chan no Tsuugakuro
Chuukan Kanriroku Tonegawa
agrumes
filles Comic
Conception
Cutie Honey Universe
Dagashi Kashi 2
Dakaretai Otoko 1-i ni Odosarete imasu.
Dame × Prince-Anime Caravan
Darling, dans le FranXX
Mort Mars kara hajimaru Isekai Kyousoukyoku
Devidol!
Devilman Crybaby [Netflix animé]
Ligne du diable
Dorei-ku L'animation
Autobus à impériale! Doug & Kirill
Duel Masters!
Emiya-san Chi ne Kyou pas Gohan
Fate / EXTRA Dernière Encore
Libre!-Plongez dans l'avenir-
Full Metal Panic! Victoire invisible
Fumikiri Jikan
Future Card Shin Buddyfight
Gaikotsu Shotenin Honda-san
Gakuen Nounous
Gakuen Basara
Gan Gan Ganko-chan deuxième série
gdgd Parti hommes
Ge Ge Ge no Kitaro (6e série)
Ginga Eiyuu Densetsu: La nouvelle thèse – Kaikou
Gintama: Gin no Tamashii-poule
Slayer gobelin
or Kamuy
Personne ne Grancrest
grand Bleu
Gundam Divers Build
Gurazeni
Gyakuten Saiban: Je suis “Shinjitsu,” EIES! Saison 2
cadre Hakata Tonkotsu
Hakumei à Kochi
Hakyuu Hoshin-L'Investiture des Dieux
Hanasaku Kizuna pas Romantan [web anime]
Ebadi!
Han-Gyaku, pourquoi Million Arthur
Happy Life sucre
Harukana Recevez
Hashiri Tsuzukete Yokattatte.
Hataraku Onii-san!
Hataraku Onii-san! À 2!
Hataraku Saibou
Masque Hero [Netflix animé]
High School DxD Hero
Fille High Score
Himote Maison
Hinamatsuri
Hinomaru Zumou
Mason à Soto
Hoshi no Shima pas Nyanko
Hugtto! Precure
Hyakuren pas Haou à Seiyaku no Valkyria
Idolish Seven
Idolm @ ster Cendrillon filles Gekijou 3ème saison
Inazuma Eleven: Ares pas Tenbin
Inazuma Eleven: Orion pas Kokuin
Entrée [Netflix animé]
Irozuku Sekai no Ashita kara
Isekai Izakaya: Koto Aitheria pas Izakaya Nobu [web anime]
Isekai Maou à Shoukan Shoujo pas Dorei Majutsu
ÎLE
Itou Junji: Collection
Itsuka AERU Kimi ni [web anime]
Iya na Kao Sare Nagara Opantsu Misete Moraitai [web anime]
Jashin-chan Dropkick
Jingai-san no Yome
World No. Kimyou na Knows: Ougon no Kaze
Joshi Ochi!!: 2-kai kara Ero Musume ga kite Futte, Ore no Arena!?
Juushinki Pandora
Kaijuu filles: seigneurs ultra Kaijuu Keikaku 2ème saison
Kakuriyo pas Yadomeshi
Kamisama Minarai Himitsu no Cocotama: Natsu da! Oohashagi spécial
Karakai Jouzu pas Takagi-san
Karakuri Circus
Kaze ga Tsuyoku Fuiteiru
Kekeroke
Ken et Ken: Aoki Kagayaki
morsures tuer
Kimi no Basho e Matsu [web anime]
kirakira Bonne?Hirake! Cocotama
Kiratto Pri?chan
Kishuku Gakkou pas Juliette
Kitsune no Koe
Koi wa Ameagari pas vous ni
Kokkoku
Koneko no Chi: Ponponra Dairyokou
Kuroneko Monroe
Kyoto Teramachi Sanjou pas Holmes
LadySpo
La dernière Epoque: Owarinaki Rasen pas Monogatari
Layton Mystère Tanteisha: Katri aucun fichier de Nazotoki
En direct d'animation Coeur x Algorhythm 2ème série
Seigneur de Vermilion: Guren no Ou
LOST SONG [Netflix animé]
Lostorage confondait WIXOSS
Lupin la troisième: Partie 5
Mahou Shoujo Ore
Mahou Shoujo Site
PRINCIPAUX 2
certaines mamans
fille de fées
Saison Marvel Avengers Future 2
Megalo Box
Merc Histoire: Mukiryoku Shounen Bin no naka pas Shoujo
Miira pas Kaikata
Mitchiri Neko
Couleurs MITSUBOSHI
Muhyo à Roujii pas Mahouritsu Jimusho Soudan
Nanatsu pas Bitoku
Nanatsu pas Taizai: Imashime pas Fukkatsu
Nani Nani Iro pas [web anime]
Pas étonnant que Tenbin
Okojo à Yamane
Okoshiyasu, Chitose-chan
Omae wa Mada Gunma wo Shiranai
Une deuxième saison Chambre
Ongaku Shoujo
Ore ga Suki nano wa Imouto dakedo Imouto ja Nai
Ore-Tacha Youkai Ningen G
Oshiete Mahou no Pendulum: Fairilu ISR ISR
oshiri Tantei
Otona no Bouguya-san
Overlord II
Overlord III
PERSONA5 l'animation
Phantom dans le crépuscule
Piano no Mori
Avec planète
Pochitto Hatsumei: Pikachin-Kit
Pop équipe Epic
Puzzle & Dragon
Radiant
Ramen Daisuki Koizumi-san
Relâchez le Sypce
RErideD: Tokigoe pas Derrida [Netflix animé]
Robot Filles Neo [web anime]
Rokuhoudou Yotsuiro Biyori
Ryuuou pas Oshigoto!
Saiki Kusuo pas ?-2ème saison
pas Sakura ~ Chikai Marronni ? Yell Higashi pas Asuka Shimotsuke-shi o Yell!~
Sanrio Danshi
Saredo Tsumibito wa Ryuu à Odoru
Satsuriku no Tenshi
Seishun Buta Yarou wa Bunny Girl Senpai no Yume wo Minai
Senjuushi
Senran Kagura: Shinovi Maître – Tokyo Youma-poule
Sentai Heroes Sukiyaki force: Gunma pas Heiwa wo Negau Saison e, œil
Shichisei pas Subaru
Shinkansen Robo Shinkalion Henkei
Shinya! Tensai Bakabon
Shoujo ? Kageki Starlight Revue
Shuudengo, capsule Hôtel, Joushi de Binetsu Utawaru Yoru.
démarrage lent
police SNS [web anime]
Sono Toki, Kanojo wa.
Sora Umi no Aida
Sora Yori mo Tooi Basho
Souten NX Ken: Regenesis
espace Bug
SSSS.GRIDMAN
St. seiya: Saintia Shou
Steins;Porte 0
Sunohara-sou pas Kanrinin-san
Super Dragon Ball Heroes [web anime]
Épée Art en ligne alternatif: Gun gale en ligne
Épée Art en ligne: Alicization
Swordgai L'animation [Netflix animé]
Tachibana-kan Lie Angle
Levez-vous Koi wo Shinai
Takunomi.
Televi Yarou Nanana
Tenrou: Sirius Jaeger
Tensei Shitara Slime Datta Ken
Le iDOLM @ STER côté M: Wake atte Mini!
Thunderbolt Fantaisie deuxième saison
Toaru Majutsu no Index III
Toji no Miko
Tokyo Goule:ré
Tonari no Kyuuketsuki-san
Tsukumogami Kashimasu
Tsurune: Kazemai Koukou Kyuudou-bu
Uchi pas Pucelle ga Uzasugiru!
Uchi pas Oochopus
Uchuu Senkan nous en vie
Ulysse: Jeanne d'Arc à Renkin no Kishi
un Musume: joli Derby
Usagi pas Mathew
Violet Evergarden
Discuter Buzz virtuel
Wakaokami de Shougakusei!
Wotaku Koi wa Muzukashii
Yagate Kimi ni Naru
Yakiniku-dix Sengoku
Yakusoku pas Nanaya Matsuri [web anime]
Yama no Susume 3ème saison
Yami Shibai 6e saison
youkai Montre: ombre côté
en selle, sakamichi: ligne Glory
Yume Oukoku à Nemureru 100 Nin pas Euclide-sama
Yuragi-sou pas Yuuna-san
Yuru Camp
Zannen na Ikimono Jiten
Zoids sauvage
Zoku Touken Ranbu: Hanamaru
Zombieland Saga

Question:
After watching some of the new anime series this season I couldn’t help mustering less than ambivalence for Production I.G’s two series Robotic;Notes and Psycho Pass. This came as a surprise since I had generally always looked forward to their shows which generally boasted stunning animation and interesting narratives. Lately though, their productions seem to be missing that wow factor of their earlier days. This too is so for Mangaglobe studios who seems to have jumped the shark from unique (if not entirely successful) thematically complex series such as Michiko E Hatchin , Samurai Champloo to Mashiro Symphony and The World Only God Knows. Definitely a far cry from their earlier productions. What is your opinion on the seemingly lack ofwowfactor that these studios had originally produced in their glory days? Is it due to new talents taking over, thus a downgrade in quality? Has any other anime studio such as Bones, Shaft, or Sunrise also seem to be creating series which are not nearly as interesting as their older shows?


Answer:
Anime productions require a year to several years, or in the case of Production I.G’s multi-award winning motion picture Momo e no Tegami, seven years of development time, so observers and critics should adopt a more long-term perspective of anime studio output than focus on trends within relatively short spans. Since its formation in 1987, Production I.G has been synonymous with high-end and exceptional anime, practically starting out of the gate with the impressive 1989 Patlabor motion picture, which was followed by fan favorite anime including Video Girl Ai, Dragon Half, and Please Save My Earth. It was only in 1995 that Production I.G established itself as an international animation powerhouse when it relesed the Ghost in the Shell movie. Cependant, examination of I.G’s output reveals a number of years with underwhelming output. The studio’s highlights from 1996 were the Shinesman and Blue Seed 2 OVAs. The studio’s most impressive anime production of 1999 was the relatively unimpressive Akihabara Cyber Team movie. The studio produced the exceptional 2008 TV series Real Drive, but that same year also released World Destruction, Sisters of Wellber Zwei, and Toshokan Senso. De même, two years ago Production I.G released the amazing TV special Shoka but also co-produced the atrocious Loups=Garous movie and the underwhelming Bungaku Shoujo movie. So 2012s mixed output of the technically impressive but narratively underwhelming Robotics;Notes and Psycho-Pass TV series are somewhat balanced out by the release of the affecting Momo e no Tegami movie. And a relatively down year like 2012 for the studio isn’t out of character for the studio from a historical perspective.

Anime studio Kabushiki-gaisha Manglobe was established in 2002 and initially produced a number of praiseworthy, esoteric productions including Samurai Champloo (2004), Ergo Proxy (2006), and Michiko to Hatchin (2008). Cependant, beginning with 2009s Seiken no Blacksmith, the studio has increasingly turned to animating more commercially friendly, conventional anime such as Kami Nomi zo Shiru Sekai (2010), Deadman Wonderland & Mashiroiro Symphony (2011), and Hayate no Gotoku. The studio’s only avant-garde production among its past eight titles has been 2010s Sarai-ya Goyo. From a long-term perspective, three years, de 2009 à 2012, may be insufficient to really gauge whether and how Manglobe’s characteristic style is changing. The trend appears to suggest that unlike the traditional ebb and flow of Production I.G, Manglobe started out focusing on unusual, unconventional anime and has shifted its focus to more commercially viable and sustainable mainstream productions, either by choice or necessity. But considering that the studio’s initial batch of avant-garde anime were produced at an average of two years apart and Manglobe’s most recent such production was two years ago, observers may want to see what Manglobe produces in 2013 before leaping to the conclusion that Manglobe hassold outand abandoned its production of nonconformist anime.

Upswings and lean periods are normal within the anime industry. Consider, par exemple, prolific studio Madhouse. During the exceptional span of 2006-2008, Madhouse produced amazing TV anime productions including Death Note, Kemonozume, Shigurui, Denno Coil, Oh Edo Rocket, Kurozuka, and Kaiba. Cependant, dans 2009 the studio released Needless, Rideback, Souten Koro, and Kobato. And in 2010 par le biais 2012 Madhouse’s TV anime productions have included the four Marvel Anime series, Oda Nobuna no Yabou, and BTOOOM! Acclaimed studio Gainax has produced masterworks including Secret of Blue Water (1990), Evangelion (1995), Gurren Lagann (2007), and Panty & Stocking with Garterbelt (2010) but also, in recent years, humdrum shows including Dantalian no Shoka, Hanamaru Yochien, and Shikabane Hime.

Perhaps the only studio I can immediately recollect that could arguably be accused of genuinely declining consistently in creativity and integrity is AIC. The studio launched in the early 1980s with groundbreaking, evocative productions like Megazone 23 (1985), Gall Force (1986), Bubblegum Crisis (1987), and Tenchi Muyo (1992), but in recent years has been characterized by anime including Sora no Otoshimono (2009), Shukufuku no Campanella (2010), R-15 (2011), and Koi to Senkyo to Chocolate (2012). Cependant, even in its still prolific yet more conventional state, AIC has still periodically made some effort to surprise viewers with unconventional (and marginally successful) productions like Ga-rei Zero (2008), Geijutsuka Art Design Class (2009), Horo Musuko (2011), and this year’s Jinrui wa Suitaishimashita & Ebiten: Koritsu Ebisugawa Koko Tenmonbu.

Even the most prolific anime production studios typically only create three or four television series per year, so making the assertion that a studio is losing its creativity or becoming more conventional and mainstream within a span of a year or two, or based on overview of only a half-dozen or so titles is really too small of a exemplary sample to support such a conclusion. A year or two and a half-dozen shows may seem like a lot of material and time for observers to base judgement on, but it’s actually not a lot of time and output for a major studio to be typified by. Unusual, artistic, esoteric anime literally don’t appear every year, especially not from a singular studio every year, so before believing that a studio has lost its touch, fans should give the studio at least a three or four year span of time before rendering characteristic observations.

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Question:
I’ve just watched Legendary Gambler Tetsuya and I really like it. The highly stylized high-stakes competitive gambling, the post-WW2 recovery period of Japan as it’s rebuilding…. I’ve never seen anything like this. Can you recommend anything similar to this in terms of atmosphere or gambling themes?


Answer:
Typically, gambling anime seem to polarize with either a very dark and threatening atmosphere or a light and fun atmosphere. Mahjong anime including the 1992 Super Zugan and 2009 Saki TV series and the 2010 Mudazumo Naki Kaikaku OVA are lighthearted and comical. L' 2008 Ad Lib Ouji OVA revolves around rivalries between professional pachislo players, but the anime concentrates on goofy humor and depiction of bizarre personalities far more than competition and gambling technique. 2011′s Rio! Rainbowgate television series is set in a casino and stars Blackjack dealers but focuses exclusively on ridiculous, albeit entertaining, situational comedy rather than gambling strategy or suspense. Then there are the darker, more serious and dangerous gambling anime. Two titles immediately spring to mind that are very comparable to 2000s Shoubushi Densetsu Tetsuya TV series. Gainax’s little remembered and even less often seen 1988-1990 OVA series Mahjong Hisho Den: Naki no Ryu is set in the 1980s and splits its focus relatively evenly between rivalries among Japanese mobsters and the intense rounds of mahjong that they play. The anime series features the exact same sort of unsavory characters in dimly lit, smoky rooms that appear in Legendary Gambler Tetsuya. Cependant, since none of its three episodes have ever been translated into English, they’re now difficult to find and may not be very interesting to viewers that can’t understand the Japanese dialogue. Madhouse’s 2005 TV series Tohai Densetu Akagi -Yamini Maiorita Tensai- (Mahjong Legend Akagi: Genius Who Descended Into the Darkness) doubles-down on the foundation that Legendary Gambler Tetsuya laid. Akagi likewise depicts high-stakes mahjong games played between villains and criminals, but elevates the games to literal life and death stakes. The nearly mean-spirited narrative revolves around Akagi Shigeru, a self-serving, ruthless villain who employs relentless psychological manipulation and intimidation in conjunction with his amazing luck to crush and humiliate his mahjong opponents.

Creator Nobuyuki Fukumoto’s Akagi has been overshadowed by the success and popularity of his Gyakkyou Burai Kaiji series that got anime TV series adaptations in 2007 & 2011. The Kaiji anime series may appeal to a variety of viewers because Kaiji depicts a variety of high-stakes games instead of just sticking to mahjong. Kaiji may also be more accessible because its protagonist, Kaiji Itou, is a highly falible ordinary guy, unlike the sharp-witted, ruthless genius Akagi. Cependant, a viewer used to the skilled gamesmanship evident in anime like Legendary Gambler Tetsuya and Akagi may be disappointed by the extensive reliance on coincidence, deus ex machina, and authorial manipulation present in Kaiji that substitutes for intelligence and strategy.

L' 2008 One Outs TV anime tonally falls in between Akagi and Legendary Gambler Tetsuya. This show about high-stakes betting on professional baseball stars a professional pitcher who relies on his incisive understanding of human nature more than the strength of his arm to torment and intimidate the batters who try to swing at his pitches. One Outs, like Akagi, is engrossing and addicting because of its smart, suspenseful writing. While a bit more psychological than Legendary Gambler Tetsuya, One Outs isn’t quite as bitterly wicked as the Akagi anime is. Once again, while One Outs may be a bit smarter than the Kaiji anime, it may not be quite as appealing to a wide audience because One Outs, like Akagi and Legendary Gambler Tetsuya, stars a prodigy rather than an ordinary guy.

Strictly speaking, la 2007 Shion no Ou television anime isn’t a gambling series, but its tone is very comparable to ominous gambling anime. Overtly, Shion no Ou resembles mainstream, encouraging hobby anime like Hikaru no Go, Chihayafuru, and Saki. Cependant, at its core, the show about an emotionally traumatized shougi prodigy literally haunted by the murder of her parents treads into some dark psychological realms and spends a considerable amount of time devoted to the strategy and culture of professional competitive shougi play.

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Question:
What is your opinion on Gen Urobuchi’s writing? Even with Psycho-Pass airing and Expelled from Paradise to come, do you think we’ll see even more of his works make the leap to animated form?


Answer:
I must preface my response with the clarification that due to limited time and opportunity, I haven’t ever actually read prose written by acclaimed and popular Japanese authors including Gen Urobuchi, Tow Ubukata, Nishio Ishin, or Kinoko Nasu. Par ailleurs, I’ve watched the Gen Urobuchi scripted Madoka Magica and Fate/Zero anime TV series in their entirety, but I’ve only sampled episodes of Blassreiter, Phantom, and Psycho-Pass. I have a significant respect for prolific writers, and even greater respect for authors that compose in a variety of genres, as writers including Gen Urobuchi and Nishio Ishin do. Cependant, based on my extrapolation of their work, many of Japan’s contemporary popular writers in the anime industry may be more accurately described as craftsmen than artists. Particularly Gen Urobuchi’s greatest talent appears to be an ability to effectively combine and recycle established ideas and concepts. Phantom of Inferno was fundamentally a reimagining of writer/director Luc Besson’s earlier live-action film La Femme Nikita. Blassreiter borrowed ideas from Kamen Rider, Homme diabolique, Mospeada, earlier Masami Obari directed anime, and a host of other media. Madoka Magica simple carried the tropes of the established magical girl genre to their logical ultimate conclusion. Psycho-Pass appears to conceptually borrow heavily from Steven Spielberg’s 2002 film Minority Report and earlier convicts-as-heroes media including Escape From New York and Yoshiaki Kawajiri’s 1990 OVA series Cyber City Oedo 808. De même, Nishio Ishin seems to have the dual ability to crank out books at a near superhuman speed and create complete novels based on simple wordplay puns.

I’m certainly in no position to criticize working creators. It’s no secret that I’m presently finishing up my own first light-novel-style book, so hopefully before too long readers will be able to determine whether I’m simply jealous or if I’m legitimately able to compose original writing that’s not a gimmicky as Nishio Ishin’s or as derivative as Gen Urobuchi’s. I think that writers like Gen Urobuchi have found and excelled within a particular, effective niche, and that practical, craftsman-like reliability ensures continued work. A time-sensitive professional industry like the anime industry absolutely requires writers that can meet deadlines and produce creative and even consciously derivative stories and scripts promptly and reliably. When a concept proves successful, producers want creators that can quickly script more of the same. Gen Urobuchi’s proficiency and efficiency, combined with his ability to compose in a variety of genresfrom action to horror to fantasy to sci-fimake him a very useful talent in the anime production industry. Sometimes, extremely prolific creators oversaturate the market. Par exemple, for a span of roughly nine years, de 1999 à 2008 character designs from Hisashi Hirai seemed to be everywhere, appearing in Mugen no Ryvius, Scryed, Soukyu no Fafner, Giniro no Olynssis, Gundam Seed and Gundam Seed Destiny, Heroic Age, and Kurogane no Linebarrels. But viewers seemed to tire of Hirai’s distinctive style, and his character designs have been absent from any new anime franchises from the past four years. Particularly Urobuchi’s ability to write in a wide variety of genres will enable him to stay relevant and appealing to producers and consumers for a long time.

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Question:
I was wondering if scars on a character’s nose means anything deeper than just a scar on the nose? The first character I can think of is Guts from Berserk, but then I saw Buso Renkin and was constantly wondering if the scar on the female lead’s nose meant anything, but it wasn’t significantly touched on in my opinion. The only other semi-prominent character I can think of is one of the captains from Bleach. It just always makes me wonder because I don’t see why the artist would choose to put a scar on their nose instead of their forehead, cheek, neck, chin, or any other body part.


Answer:
I honestly don’t know if a scar on the bridge of the nose has more figurative or symbolic significance than a similar scar elsewhere on the face, but it might. The obvious explanation for a scar on the nose instead of on the cheek is simply differentiation. Well known characters including Himura Kenshin, Sagara Sousuke, Bardock, and Rai Ryuuga have a cross-shaped scar on their cheek. Captain Harlock’s scar crosses the bridge of his nose but is most obviously on his cheek. Characters including Kakashi Hatake, Jet Black, Akagami no Shanks, and Zoro Roronoa have scars over an eye. Ageha Kuki from Kimi ga Aruji de Shitsuji ga Ore de is one of the few characters to have a prominent scar on the forehead. So placing a scar across the nose can be simply a less conventional position on the face to place a distinguishing scar. Scars on the face are effective character trademarks because they’re always prominent and visible, unlike scars elsewhere on the body that may be often covered up. Moreover, a scar distinctly on the bridge of the nose, or in Ageha Kuki’s case, the center of her forehead, may reveal a straightforward personality. Unlike a diagonal scar on the cheek that could have been rendered by a glancing blow or while the head was turned, a deep cut on the nose is centered, suggesting that the victim was injured while facing peril head-on. Après tout, characters including Captain Harlock, Buso Renkin’s Tokiko Tsumura, Gutts, and Ageha Kuki have very straightforward, pretenseless personalities while characters with scars on their cheeks, including Himura Kenshin and Sagara Sousuke tend to have bipolar personalities.

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