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Summer Anime 2017 |OT| More streaming services than shows to watch
- Thread starter TUSR
- Start date
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This seems like a very generous assessment. Like even when the VA staff and character designs come in things are maybe not on the best track.......
Okay cool, so Lelouch's "brother" has a limited-range version of Za Warudo that he can use multiple times on the same person. No sir, that isn't OP at all!... it makes me fear for the show's escalation, since Lelouch will have to become a Light-level chessmaster in order to keep up with enemies such as Rolo.
Still, who'd ever name their son "Rolo" without it actually being some kind of nickname? It's kind of funny how foreign names in anime are often likely to make little to no sense.
Still, who'd ever name their son "Rolo" without it actually being some kind of nickname? It's kind of funny how foreign names in anime are often likely to make little to no sense.
Exciting ship battles
Cute girls firing live ammunition at each other safely and responsibly
What more did you want?
This episode was great
AquaWateria
Member
Lol maybe I shouldn't have used borderline.
who would name their son Lelouch?
Aaronrules380
Member
A code geass fan with no sense?
Basileus777
Member
It's an alternate history. Of all the things in Code Geass, Britannian royalty's choice in naming is the least of the implausibles.
At least Lelouch is a somewhat dramatic-sounding name that kind of fits the character. Rolo, however, is plain as hell.
Also, man did I laugh at the former winning over the latter in matter of seconds with a couple of embellished lies. You'd expect the people he's up against to know Lelouch is one hell of a liar that loves using people as disposable pawns, but I guess they don't really know any better.
As for Lelouch's goals', I'd rather have him place his vengance against Wakamoto higher than Nunnally's happiness (oh look, another weird name), because the actions he keeps taking on his way to the top are likely to make his little sister break more spectacularly than a Higurashi character if she's ever told the truth.
Crimson_Echidna
Banned
"This is an anime about gambling."
Made in Abyss 3
Still awesome. Lots of great info and setup in this episode and we'll dive into the meat of things next week. I've really enjoyed the kids as a whole so we'll see how well the 2 can carry the show on their own (I guess we might meet other raiders on the higher levels though).
Still awesome. Lots of great info and setup in this episode and we'll dive into the meat of things next week. I've really enjoyed the kids as a whole so we'll see how well the 2 can carry the show on their own (I guess we might meet other raiders on the higher levels though).
Sakura Quest: 8
Looks like a little romance subplot got introduced with Shioris sister Sayuri but since she bout to leave dont know how well itll turn out. Plus, their Grandparents took a tidbit of a conversation and ran with that shit lol started to talk about marriage already. The main focus though was the group trying to come up with a dish to represent the town but forgot to tell the towns planning committee, which means more blame Yoshino has to deal with once again. Working together seems to be a good option but unfortunately with Kadotas stubbornness and Chitoses decision to yell during every encounter its just going to make things more difficult until they settle their issues. But this also provided an opportunity for Shiori to step up in a leadership role so that should be interesting how that turns out. Also, their cosplay in the beginning was funny lol this show actually does a good job at switching up their outfits.
Isekai Shokudou: 3
Spaghetti a good choice but they werent really getting in it, had like two droplets of sauce on the pasta on the forks smh.
Looks like a little romance subplot got introduced with Shioris sister Sayuri but since she bout to leave dont know how well itll turn out. Plus, their Grandparents took a tidbit of a conversation and ran with that shit lol started to talk about marriage already. The main focus though was the group trying to come up with a dish to represent the town but forgot to tell the towns planning committee, which means more blame Yoshino has to deal with once again. Working together seems to be a good option but unfortunately with Kadotas stubbornness and Chitoses decision to yell during every encounter its just going to make things more difficult until they settle their issues. But this also provided an opportunity for Shiori to step up in a leadership role so that should be interesting how that turns out. Also, their cosplay in the beginning was funny lol this show actually does a good job at switching up their outfits.
Isekai Shokudou: 3
Spaghetti a good choice but they werent really getting in it, had like two droplets of sauce on the pasta on the forks smh.
Valkyria Chronicles the game would be preferable to the anime adaptation. I'll also go out and suggest you could try looking into Yamato 2199. It's set in space, but definitely a very military-oriented show. Along the same lines...Legend of the Galactic Heroes would be even more relevant. Definitely an older, drier and more straight-laced series in terms of presentation, plus it is quite long, but it's worth the investment if you want a detailed look into political philosophy to go along with your space warfare.
Jex
Member
Well, we only have to wait about 5 years for the anime to wrap up then!
Give that you like GuP and Strike Witches, all of these should serve you just right.
You are much better of playing Valkyria Chronicles than watching the anime.
If we have people naming their children Sephiroth or Zelda or Arya or Breckin. Anything is possible.
Admiral Woofington
Member
I'm now imagining the ending scene of Harry Potter where the kid is named after his top 10 anime characters
and now let's imagine that he has a really shit tast in anime.
"You should be proud of your name, Kiritio Natsu Inaho Makoto Ito Potter."
Basileus777
Member
Sounds like an improvement over the actual scene.
Jex
Member
I'm really enjoying watching this show via screenshots, much like I prefer to watch some shows via sakugabooru.
MetroidPrimeRib
Banned
I didnt read what you quoted and I thought you were talkin about Heybot.
Jex
Member
It could equally apply to a variety of shows!
TacticalHotdog
Member
If you don't mind older series, I recommend Area 88(OVA), Yukikaze, and FLAG
Felt like the episode was imitating the first issue of older comics (thinking 60s here) by trying to get all the players involved and show off what they can do before worrying about any sort of overarching plot. What's missing is those old comics have a lot of expository dialogue that's absent here so we're left to infer nearly everything. In something like X-Men #1 from 1963 or Fantastic Four #1 from 1961, there's both explanation and demonstration of what everyone can do before it's put into practice against some sort of antagonist whereas we just hit the ground running here in a way where "Show, don't tell" isn't quite so effective.
In one of the interviews, Nagahama said they had this full timeline of events and we're starting at some point in the middle with the rest being revealed as the show goes on. Dialogue at the end of the episode makes me think we're going to flashback from the in media res opener and get something more traditional but the cool stuff needed to be demonstrated first.
If we're going older, VOTOMS is a must as well,
T
thepotatoman
Unconfirmed Member
Dragon Ball Super I'm really enjoying the over the top rope tornado tag battle royal and them showing every elimination. That show is full on professional wrestling now and I love it.
My Hero Academia is still good, as I'm sure everyone knows.
A Centaur's Life is really cute and fun, but their take on race issues completely confuses me so far.
In Another World With My Smart Phone is really bad. I get it's a power fantasy in that new trope of getting transported to an RPG world but there's such a thing as going too far with making the main character overpowered and doing nothing but playing into the power fantasy. It's like the poster boy for everything haters of that genre hate in a way fans of the genre can also hate. At least the animation is good and girls are pretty charming.
Gamers seems good, but I'm not a big fan of cringe humor, and this seems to be mostly cringe humor.
I have no clue what else to watch. I guess i need to sign up to anime strike, since apparently all the good anime is there now. Made in Abyss looks good and I want to catch up on Re:Creators. Princess Principal sounds interesting too. Princess Principal and Made in Abyss are the only OPs I've liked this season from what I've seen.
My Hero Academia is still good, as I'm sure everyone knows.
A Centaur's Life is really cute and fun, but their take on race issues completely confuses me so far.
In Another World With My Smart Phone is really bad. I get it's a power fantasy in that new trope of getting transported to an RPG world but there's such a thing as going too far with making the main character overpowered and doing nothing but playing into the power fantasy. It's like the poster boy for everything haters of that genre hate in a way fans of the genre can also hate. At least the animation is good and girls are pretty charming.
Gamers seems good, but I'm not a big fan of cringe humor, and this seems to be mostly cringe humor.
I have no clue what else to watch. I guess i need to sign up to anime strike, since apparently all the good anime is there now. Made in Abyss looks good and I want to catch up on Re:Creators. Princess Principal sounds interesting too. Princess Principal and Made in Abyss are the only OPs I've liked this season from what I've seen.
firehawk12
Subete no aware
I can see why duckroll loves Shin Godzilla. lol
It's so unapologetic in being a live action Evangelion film that I have to imagine whatever energy Anno had for the 4.0 was spent making this instead.
Also somehow a series of meetings was more exciting than the mess that was the Godzilla film from a few years ago. lol
(The constant use of "Decisive Battle" doesn't hurt either.)
It's so unapologetic in being a live action Evangelion film that I have to imagine whatever energy Anno had for the 4.0 was spent making this instead.
Also somehow a series of meetings was more exciting than the mess that was the Godzilla film from a few years ago. lol
(The constant use of "Decisive Battle" doesn't hurt either.)
I don't think the problem is with the lack of exposition or that it starts in media res. I also don't think there's a great comparison here with X-Men #1 or Fantastic Four #1. The problem isn't that it's confusing or anything. It's just that it feels really like a whole lot of nothing. If you want to start a narrative in media res, it has to be something exciting. An Iron Man knockoff wrestling with knockoffs of Man Bat and the Lizard is not really exciting, especially when you drag on fight out over 2/3 of a whole episode. Hopefully this is just Gungrave syndrome and the show doesn't actually suck.
firehawk12
Subete no aware
T
thepotatoman
Unconfirmed Member
Decided to go ahead and get Anime Strike, so...
Princess Principle - Episode 1
This anime has potential to become either really good or really boring really quick, but the steampunk style is so good I don't know if I care.
Interesting how cutthroat the ending is.
Princess Principle - Episode 1
This anime has potential to become either really good or really boring really quick, but the steampunk style is so good I don't know if I care.
Interesting how cutthroat the ending is.
Kizumonogatari Part 3 Reiketsu-hen
This went just right and well beyond my imagination at times.
The suggestive moment with Hanekawa, jesus, they went all the way and yet nothing happened. I'm itching to say how well that was executed vs what I read but that's something it could've done without in terms of the narrative.
My thoughts are still consistent from what I felt in the second movie but I'm just gonna say that this felt a lot more comprehensive and captivating. A lot of the key moments went well and just as I anticipated.
I personally love how it ends, the idea that even something unfortunate can be shared is something that's made a strong impression when I read. It's part of why I liked it despite the issues.
This went just right and well beyond my imagination at times.
The suggestive moment with Hanekawa, jesus, they went all the way and yet nothing happened. I'm itching to say how well that was executed vs what I read but that's something it could've done without in terms of the narrative.
My thoughts are still consistent from what I felt in the second movie but I'm just gonna say that this felt a lot more comprehensive and captivating. A lot of the key moments went well and just as I anticipated.
I personally love how it ends, the idea that even something unfortunate can be shared is something that's made a strong impression when I read. It's part of why I liked it despite the issues.
hosannainexcelsis
Member
But the best part of Kakegurui - the music, the voice acting, the timing of shots - can't be conveyed in screenshots.
I like the unique visual style The Reflection is going for, but I agree with you that besides the visual style the first episode had nothing to it. In its storytelling (or lack thereof) it reminded me of the beginning of the original Fafner series - no exposition, no character establishment, barely any premise establishment, just a sense that the writer had established some bare outlines and forgotten to flesh them in. I'm waiting on the second episode to see whether this is an approach that will be continued or whether the story and characters will begin to be actually fleshed out, but in a worst-case scenario perhaps Nagahama is unable to come up with satisfying story beats without having them provided, this being his first work that isn't based on a manga.
firehawk12
Subete no aware
Are some older classics out of the equation? Are you mainly interested on aspects like the non-stop fetishism over military-grade hardware/equipment? Because in that case GunSmith Cats (if by chance you haven't seen it yet) is the safest bet in terms of its pure fascination for a true showcase of weaponry in an animated form... 'nogunz' everywhere agree, coinciding on granting this show a shared HIGHEST SCORE while rating the combined presence of themes related to the usual /ak/'s firearms debauchery:
/k/ Approved Anime | /k/ - Weapons Wiki | FANDOM powered by Wikia
http://amagicalplace.wikia.com/wiki//k/_Approved_Anime
Anyway, of those examples you posted I'd like to mention how So・Ra・No・Wo・To is too 'AIJOU YUUJOU' to ignore it for long; a narrative barely uncovering the thin veil of its turbulent world's setting (with a very fine visual realisation and a specially poignant musical approach accompanying it, highlighting Ms. Ōshima's progress) along such encompassing tale of sweetness for the characters' comradeship on display but secluded from their own reality and past history, gave it a mysterious touch that made diving-in on good ol' 'SPECULAH!' at the time a very fun pastime, while even long after all those eager discussions finished still having an atmosphere worth revisiting from time to time.
NaDannMaGoGo
Member
Having seen it recently, too, I would consider it more of a really drawn out Evangelion episode rather than a film, with its angel of the week being Godzilla.
Unfortunately, whereas the art direction and visuals of Evangelion are just so damn good and often downright iconic, scenes involving Godzilla often just look a tad awkward. And I say that expecting way worse CG than what was delivered.
Hell, even all those meetings, where live action seems to be a better fit than animation, didn't seem much stronger here.
Large Professor
Member
New Game! (S1) 1 - 3
A cute and funny (lots of lewd humor) little anime.
Tari Tari 1 - 13
Not a bad anime, but not one I'd recommend either. Out of the five characters only two (wakana & sawa) have interesting back stories and personalities. The two boys of the gang are especially boring.
A cute and funny (lots of lewd humor) little anime.
Tari Tari 1 - 13
Not a bad anime, but not one I'd recommend either. Out of the five characters only two (wakana & sawa) have interesting back stories and personalities. The two boys of the gang are especially boring.
Jex
Member
[The Reflection] - 1
I don't know what I was really expecting from a Nagahama superhero show, but this wasn't it.
There's a certain flow and rhythm to Nagaham's editing that I could not detect in this episode, outside of the brief opening segment in Japan. The episode as a whole felt uncharacteristically disjointed and erratic, with numerous scenes and shots feeling far too drawn out.
On a broader level, this episode just felt like a bunch of scenes of characters doing things (sometimes very slowly). We don't have any context for what's taking place, nor do we know anything about the characters, so there's really nothing for the audience to invest in. The only time we get context is via expository newscasts which feature some truly clunky and bizarre dialogue.
The series is obviously reaching for something stylistically different, but I don't think the execution matches the ideas.
On the other hand, it doesn't look like anything from the past. Stylistically, the show is incredibly modern and Nagahama's unique directorial fingerprints clearly shine through despite how weirdly paced everything is. The show is incredibly reflexive in it's callback to the classic look of superhero comics in a number of ways that I feel are worth highlighting:
It's a shame because I kinda dig what's going on here, but it's all in the service of a whole lot of nothing. You would think, if you hadn't actually watched this episode, that the series was actually about breaking down the idea of a superhero into it's most basic and original components, in the same way that the visuals breakdown the actual imagery of superheroes into its most basic forms and shapes. It's a very elemental approach to visual storytelling that appears to actually be un-moored from the story that is being told, which seems to be the same generic stuff about society judging people based on their appearances/traits.
Still, maybe it will improve?
I don't know what I was really expecting from a Nagahama superhero show, but this wasn't it.
There's a certain flow and rhythm to Nagaham's editing that I could not detect in this episode, outside of the brief opening segment in Japan. The episode as a whole felt uncharacteristically disjointed and erratic, with numerous scenes and shots feeling far too drawn out.
On a broader level, this episode just felt like a bunch of scenes of characters doing things (sometimes very slowly). We don't have any context for what's taking place, nor do we know anything about the characters, so there's really nothing for the audience to invest in. The only time we get context is via expository newscasts which feature some truly clunky and bizarre dialogue.
The series is obviously reaching for something stylistically different, but I don't think the execution matches the ideas.
I can kind of understand what you're getting it. It feels like an 80s cartoon (or even OVA) that's just a bunch of action setpieces and other scenes stapled together in a jumbled manner, with lots of characters doing things that the audience doesn't understand.
On the other hand, it doesn't look like anything from the past. Stylistically, the show is incredibly modern and Nagahama's unique directorial fingerprints clearly shine through despite how weirdly paced everything is. The show is incredibly reflexive in it's callback to the classic look of superhero comics in a number of ways that I feel are worth highlighting:
The closeup on the paper lanterns is clearly reminiscent of comic book panels, before we cut way to reveal what we're actually seeing.
I-Guy turning the displays into a classic comic book background, combined with sound effect-bubbles.
More broadly, the entire design of the series with it's focus on a very limited set of visual ideas. There's lots of broad, bright colours. Instead of complicated or busy geometry, we get very simple geometric shapes paired with very clean, simple lines.
It's a shame because I kinda dig what's going on here, but it's all in the service of a whole lot of nothing. You would think, if you hadn't actually watched this episode, that the series was actually about breaking down the idea of a superhero into it's most basic and original components, in the same way that the visuals breakdown the actual imagery of superheroes into its most basic forms and shapes. It's a very elemental approach to visual storytelling that appears to actually be un-moored from the story that is being told, which seems to be the same generic stuff about society judging people based on their appearances/traits.
Still, maybe it will improve?
hosannainexcelsis
Member
I think you should rewatch Shin Godzilla, because the meeting scenes were perhaps the strongest part! Very visually arresting. Throughout the entire film it was clear that it was made by animators with an eye for eye-catching layouts.
I would say you did detect the characteristic flow and rhythm to Nagahama's editing in this episode.
On the contrary, having the opportunity of working on such an outside project in Mr. Anno's case actually did recharge his energies (so to speak, and based on feelings he has expressed before) for the draining prospect that is working on the following Rebuild of Evangelion entries. It actually seems to have helped him cope with a return to the arduous and repetitive task of revisiting the same themes over and over just to try fulfilling everyone's unrealistic expectations that have been built-up for years!
NaDannMaGoGo
Member
The meetings were usually the strongest aspect of Shin Godzilla. They just didn't impress me more than their counterparts in Evangelion, however. In fact, they seemed even more captivating there.
Jex
Member
I knew this would come up, so I should have built a response into my thoughts. Firstly, I think Nagahama usually paces things appropriately to their context. Secondly, when when he employs a longer shots and a more deliberate pace, there's still a rhythmic feeling to the editing (even if the rhythm is very slow).
Normally, when Nagahama's employs a very deliberate pace it is in service of something very specific. At the opening of this episode, it certainly fits in with the activity that we are witnessing. We're watching a very quiet ceremony in memory of people who have passed on - the languid pace makes perfect sense in this context. The same can be said of the of the infamous walking sequence in The Flowers of Evil, where we're really soaking up the atmosphere and reflecting on what's taken place. Yet Nagama employs this same pacing in the fight scenes - which feels like a real mismatch. There's very little information or atmosphere to bathe in during this scenes, and a result they feel very odd.
In addition, I didn't feel like there was any rhythm to the cuts in the action sequence. If you look at something like the paint-scene from The Flowers of Evil, that's a slow-motion action sequence but there's still a very distinct rhythm in the different lengths of each shot. There's an established tempo. I didn't feel that same tempo from The Reflections because I don't feel like there was an established contrast between the length of shots.
hosannainexcelsis
Member
Nagahama's deliberate pacing generally works with the material he's treating in Mushishi and Flowers of Evil, and feels awkward when matched with the superhero action in the first episode of The Reflection. I agree with you there. But I'm not sure Nagahama is capable of speeding up his pacing - I think despite his clear love of comics he may not be cut out to direct action. That's what I was getting at. Even in Flowers of Evil, there were spots where I felt like Nagahama's pacing got too sluggish for the material, particularly in some of the lighter moments such as Kasuga's date with Saeki. So The Reflection may be a case where Nagahama's personal interests and his talent as a director simply don't line up.
Turin Turambar
Member
I don't even understand the point of The Reflection. The clearly distinctive feature here is the art style, which imitates the style of many comics from a certain age.
But... it's an ugly style. Why would you imitate something ugly?
Hell, you have to understand the comics used that color palette not because it was stylistic choice, but because color costed money in a printer shop, that's why they used so few, sometimes muted color.
Forcing those limits upon yourself to ape nostalgia seems like a bad choice.
But I'm not a fans of superhero comics in the first place, so clearly I'm not in the market segment that this is directed to.
But... it's an ugly style. Why would you imitate something ugly?
Hell, you have to understand the comics used that color palette not because it was stylistic choice, but because color costed money in a printer shop, that's why they used so few, sometimes muted color.
Forcing those limits upon yourself to ape nostalgia seems like a bad choice.
But I'm not a fans of superhero comics in the first place, so clearly I'm not in the market segment that this is directed to.
So you can say RURUUUUSHUUU
Jex
Member
Sorry about the delay in responding to this post. I'm not going to through everything blow-for-blow as it's pretty clear there are somethings we just have a fundamental disagreement over (such as the colour design in certain scenes, the lighting in the park, etc etc).
Starting with the Ghost in the Shell comparison, I feel like all I need to do is present these two images next to each other for the visual mirroring to be obvious:
Here are the things which stand out to me as similar, just in these images
- Woman standing on ledge
- A cityscape at night
- The camera is positioned behind and above the woman, with the angle titled down
- This ledge overlooks a ring of four large buildings arranged in a circle
- This ledge also overlooks a ring of roads that are being driven on by cars
Once we take in the other images in this sequence, the visual comparison is even clearer:
- Woman overlooking the city with a technological device, shot from the side.
- Cut to a closeup of what she's observing with her technological device.
- We see her remove the device from her face.
- She takes a moment to observe the city.
- Then she jumps off the edge of the ledge.
It's just steampunk version of the Ghost in the Shell scene, and I think the reason the show draws the comparison is because of the kind of story they're looking to tell. Both Princess Principal and Ghost in the Shell (especially the TV series SAC) tell the story of clandestine government agency, formed from a small team of specialists, which engages in espionage, kidnapping, assassination, and other ‘dirty' spy activities. Both works takes place in morally grey worlds, with morally grey characters. There's also cool action sequences with people flipping around doing ninja shit and inappropriately dressed women.
The problem is that I don't feel that visually borrowing from Ghost in the Shell is good idea if the scene you create ultimately feels like a pale imitation. Hosannainexcelsis, you are right to point out that the visuals in Ghost in the Shell and the visuals in Princess Principal are trying to convey very different ideas. But my problem is that the visuals in the Ghost in the Shell scene exist for a very clear reason that has a very clear payoff within the scene. The same cannot be said for Princess Principal.
In both sequences, we're being introduced to a character who we know nothing about. In Ghost in the Shell, there's a lot of build-up to the Major jumping from the building. We see her disrobe, something which should traditionally make you feel that a character is vulnerable. We see and hear the wind blowing in her hair, which combined with the camera demonstrating how far she has to fall and how solid the concrete below her is, induces a sense of vertigo. As the audience, we can't make sense of what's going on, even as the major dives of the building with a smile in her face, we can't fathom her plans until the very last moment when the camera cuts to a previously invisible thread that's attaching her to the building. Oshii builds up an expectation visually which he then pays off visually. The crucial piece of information concerning the thread is withheld from the audience until the very last moment of the scene. What does this tell the audience? We know that the Major is a character who is control, who is fearless, who is potentially a thrill-seeker and that even if we (in the audience) don't realise it, she is always acting on a plan of her own devising.
The sequence in Princess Principal, by contrast, tells you very little. We observe Ange observing other people, and then she jumps off a building. There isn't build up or payoff within the scene to, because at the end of the scene we don't suddenly see Ange flying around with the orb. This reveal doesn't occur until a few minutes later. All we get instead is a tiny blink-and-you'll-miss-it flash of green at the nadir of her fall. Therefore I can't agree that this scene tells us that Ange is a character who can control gravity because we don't get that as part of the scene itself.
There's nothing necessarily wrong with that – as it leaves the exact nature of Ange's powers as a mystery, and it also serves to tell the audience that Ange is a character who is fearless. But by visually calling back so strongly to Ghost in Shell I can't help but think about all the more interesting elements present in the original sequence.
For example, I feel like characters don't really blend with the background here, and contrast in focus between the foreground and background is a little extreme:
While in other shots, it feels like the focus naturally gets blurrier the further objects are from the camera:
But, even within this very scene, consistency is a huge problem. Look at this next shot:
Rather than taking place in an organic world, where there's actual depth to the image, this feels very "2D" with the characters placed in front of a flat background, rather than a room with real depth. Notice as well how the girl with her hair in buns has teleported from being in front of the large dresser to being in front of some kind of cage.
Hang on a second, we clearly saw earlier that this sofa was against the wall, underneath the tusk. Who moved it to a different side of the room?
Other shots have a great sense of depth to them:
It's just very uneven.
I am aware of the growing rise of digital photography in anime and in many cases I think it works really well. I certainly understand that they're attempting to emulate the ‘blurry' camera look that signifies a character has been emotionally moved. I've trying to work out what bothered me about the use of the effect in this one scene and I believe it largely come down to a question of consistency, as it felt like that was the only shot in the scene that was shot with a blur filter. However, it makes sense as that's clearly a POV shot from Eric's perspective. So I don't really know why I dislike it.
I don't really agree with you here. The sequence may be in part inspired by Gravity Rush (I am not familiar with the game) but the visual callback to Ghost in the Shell is incredibly overt, to the point where I feel it is deliberately winking at the audience. Not only does this sequence borrow the visuals from Ghost in the Shell, but there's certain plot and thematic elements present in this episode that feel like similar to Ghost in the Shell (the TV series more so than the movie). Finally, I don't think the sequence in Princess Principal cleanly conveys the message that you ascribe to it.
Starting with the Ghost in the Shell comparison, I feel like all I need to do is present these two images next to each other for the visual mirroring to be obvious:
Here are the things which stand out to me as similar, just in these images
- Woman standing on ledge
- A cityscape at night
- The camera is positioned behind and above the woman, with the angle titled down
- This ledge overlooks a ring of four large buildings arranged in a circle
- This ledge also overlooks a ring of roads that are being driven on by cars
Once we take in the other images in this sequence, the visual comparison is even clearer:
- Woman overlooking the city with a technological device, shot from the side.
- Cut to a closeup of what she's observing with her technological device.
- We see her remove the device from her face.
- She takes a moment to observe the city.
- Then she jumps off the edge of the ledge.
It's just steampunk version of the Ghost in the Shell scene, and I think the reason the show draws the comparison is because of the kind of story they're looking to tell. Both Princess Principal and Ghost in the Shell (especially the TV series SAC) tell the story of clandestine government agency, formed from a small team of specialists, which engages in espionage, kidnapping, assassination, and other ‘dirty' spy activities. Both works takes place in morally grey worlds, with morally grey characters. There's also cool action sequences with people flipping around doing ninja shit and inappropriately dressed women.
The problem is that I don't feel that visually borrowing from Ghost in the Shell is good idea if the scene you create ultimately feels like a pale imitation. Hosannainexcelsis, you are right to point out that the visuals in Ghost in the Shell and the visuals in Princess Principal are trying to convey very different ideas. But my problem is that the visuals in the Ghost in the Shell scene exist for a very clear reason that has a very clear payoff within the scene. The same cannot be said for Princess Principal.
In both sequences, we're being introduced to a character who we know nothing about. In Ghost in the Shell, there's a lot of build-up to the Major jumping from the building. We see her disrobe, something which should traditionally make you feel that a character is vulnerable. We see and hear the wind blowing in her hair, which combined with the camera demonstrating how far she has to fall and how solid the concrete below her is, induces a sense of vertigo. As the audience, we can't make sense of what's going on, even as the major dives of the building with a smile in her face, we can't fathom her plans until the very last moment when the camera cuts to a previously invisible thread that's attaching her to the building. Oshii builds up an expectation visually which he then pays off visually. The crucial piece of information concerning the thread is withheld from the audience until the very last moment of the scene. What does this tell the audience? We know that the Major is a character who is control, who is fearless, who is potentially a thrill-seeker and that even if we (in the audience) don't realise it, she is always acting on a plan of her own devising.
The sequence in Princess Principal, by contrast, tells you very little. We observe Ange observing other people, and then she jumps off a building. There isn't build up or payoff within the scene to, because at the end of the scene we don't suddenly see Ange flying around with the orb. This reveal doesn't occur until a few minutes later. All we get instead is a tiny blink-and-you'll-miss-it flash of green at the nadir of her fall. Therefore I can't agree that this scene tells us that Ange is a character who can control gravity because we don't get that as part of the scene itself.
There's nothing necessarily wrong with that – as it leaves the exact nature of Ange's powers as a mystery, and it also serves to tell the audience that Ange is a character who is fearless. But by visually calling back so strongly to Ghost in Shell I can't help but think about all the more interesting elements present in the original sequence.
Right, I actually think the composition is very uneven. In some scenes the characters and world look completely interwoven, in others the characters feel like they're standing on backgrounds that they don't blend in with. I personally felt that this immersion-breaking visual problem occurred in too many scenes.
For example, I feel like characters don't really blend with the background here, and contrast in focus between the foreground and background is a little extreme:
While in other shots, it feels like the focus naturally gets blurrier the further objects are from the camera:
But, even within this very scene, consistency is a huge problem. Look at this next shot:
Rather than taking place in an organic world, where there's actual depth to the image, this feels very "2D" with the characters placed in front of a flat background, rather than a room with real depth. Notice as well how the girl with her hair in buns has teleported from being in front of the large dresser to being in front of some kind of cage.
Hang on a second, we clearly saw earlier that this sofa was against the wall, underneath the tusk. Who moved it to a different side of the room?
Other shots have a great sense of depth to them:
It's just very uneven.
I am aware of the growing rise of digital photography in anime and in many cases I think it works really well. I certainly understand that they're attempting to emulate the ‘blurry' camera look that signifies a character has been emotionally moved. I've trying to work out what bothered me about the use of the effect in this one scene and I believe it largely come down to a question of consistency, as it felt like that was the only shot in the scene that was shot with a blur filter. However, it makes sense as that's clearly a POV shot from Eric's perspective. So I don't really know why I dislike it.
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