• Hey, guest user. Hope you're enjoying NeoGAF! Have you considered registering for an account? Come join us and add your take to the daily discourse.

Winter 2012 Anime Thread 2.22: You Can (Not) Outpost Cajunator

Status
Not open for further replies.

Hitokage

Setec Astronomer
The underexposure of anime back in the day is what made it look cool (also the fact that only certain shows got brought up). The advent of internet communications and all that shit has only made it easier for people to realise that there's a lot of shit. Like a shitload.
Yes, but it's the presence of those certain shows that made it work. It's not that moe or haremshit has really gotten severely worse as many say, it's that there isn't much to balance it out anymore.
 

RurouniZel

Asks questions so Ezalc doesn't have to
*looks at rate of posts in last hour or so*

So should I expect to see the Spring thread by the time I get home in a couple hours?
 

Lafiel

と呼ぶがよい
Okay currently here are the shows from Spring 2012 I feel deserves an OT because of interest beyond just Animegaf:

Saint Seiya Omega
Lupin the Third - The woman named Fujiko
Eureka Seven AO
Kids on the Slope
AKB0048

Has anyone claimed the rights to make each OT yet? I think Dead is going to make the E7AO one, and I believe someone said 7th was going to do AKB0048? I'm claiming Kids on the Slope for myself, unless someone else claimed it earlier. I wouldn't mind doing Lupin either, unless someone else wants it. Maybe 7th is doing Saint Seiya Omega too? Not sure.

For Fate/Zero, we should just continue to reuse the existing OT, since it's a returning series.

I'm pretty sure 7th claimed the Koikelupin OT earlier in a another thread, not sure.

Also we have AKB48 fans in GAF? :D
 

BGBW

Maturity, bitches.
Another - End

The opening couple of minutes was hilarious, especially the guy who crawled out from under the chandelier only to be hit by a falling column. Serves them right for being slack with their fire safety.

And MC was the one who started it all by being a murderer...?

And we will never know if it is still hot in India.
 

-Minsc-

Member
Last Exile - Fam - Fin

Well, that could have been better. It feels as if the makers of the series ran out of ideas and quickly decided to wrap it up. Many character and plot developments simply went nowhere. Ah well, can't always have a satisfying ending.
At least Claus and Lavi made an appearance at the end. There was no explanation as to why Claus is in a wheelchair. I'm guessing he fell out of his vanship or something.

I'll leave it for others to dissect the story in more detail.
 
I'm not sure I'm aware of the difference.

Specifically comparing Cowboy Bebop to Avatar, I see the latter's handling of the constantly ongoing main plot in conjunction with the more stand-alone episodes at the beginning of each season as slightly different than Cowboy Bebop's almost entirely episodic nature with only a couple of episodes that involve the "main plot". Also, Cowboy Bebop's relatively open ending reflects Eastern sensibilities as compared to Avatar's more conclusive ending.

I'm sure you could point to counter-examples on both sides, and I wouldn't want to claim a sharp divide between them. Obviously there's a lot of cross-cultural influences going on. But I feel that Avatar is an essentially Western product written and designed from a Western perspective, and so statements like "Avatar does anime better than anime" don't really make sense.
 

BGBW

Maturity, bitches.
I couldn't really tell if that was him. There are too many characters with orange-brown hair and that guy was one of them if I'm not mistaken.
Well it looked very much like him and they could have used a completely different design if we were not meant to come to that conclusion. Scene wasn't really needed for the story to work.
 

Brazil

Living in the shadow of Amaz
Another 12 -END-

Bwahahaha.
I literally laughed out loud at the guy getting smashed by the pillar.

Other than that...
Poor Akazawa. She deserved it for losing it, though.

And about the extra... That was unexpected. The whole thing.

A big huh at the murder scene, though.

Pretty good ending.
 

duckroll

Member
Specifically comparing Cowboy Bebop to Avatar, I see the latter's handling of the constantly ongoing main plot in conjunction with the more stand-alone episodes at the beginning of each season as slightly different than Cowboy Bebop's almost entirely episodic nature with only a couple of episodes that involve the "main plot". Also, Cowboy Bebop's relatively open ending reflects Eastern sensibilities as compared to Avatar's more conclusive ending.

I'm sure you could point to counter-examples on both sides, and I wouldn't want to claim a sharp divide between them. Obviously there's a lot of cross-cultural influences going on. But I feel that Avatar is an essentially Western product written and designed from a Western perspective, and so statements like "Avatar does anime better than anime" don't really make sense.

I don't think it makes a lot of meaningful difference because you're ultimately associating elements which don't really have anything to do a show being western or eastern. Bebop has both stand alone episodes and plot arc episodes. Whether it has more of one or the other is simply a choice which is related to the specific show's design, not because it is "eastern" in any way. The same applies for the ending. It is very strange to make these connections when it generally doesn't seem true.

How is Cowboy Bebop's ending particularly different from something like Sopranos for example? Does this mean that Sopranos is a show where the ending reflects Eastern sensibilities? Of course not, let's not be silly here. Open endings are not unique to eastern or western storytelling. It is a narrative device for conclusions which is universal. Trying to suggest that a conclusive ending is uniquely western seems even dumber to me, considering how many eastern classics have very conclusive endings. I really don't see where you're going here.

It seems more like you simply picked specific differences between Cowboy Bebop and Avatar, and decided that these differences are more "eastern" or "western" based on some silly nonsensical rule which is actually untrue. My point of that Cowboy Bebop (and many other anime for that matter) share a similar format that Avatar does. The point is not that it is a western or eastern narrative format, but rather a universal one.

Trying to suggest that Avatar does things which anime does not will lead into a hole you cannot get out of, because I'm pretty certain that I can specifically find multiple anime series which in fact do handle narrative in the same way as Avatar does, and tackles the same elements that Avatar does.

In fact, I'll love to know how a show like Fullmetal Alchemist is different from Avatar. Just split the 64 episodes across 5 seasons, and you'll have something extremely similar.
 

Branduil

Member
Avatar is anime because both are animated in South Korea!!!! :D

Well technically that would be an argument for neither being anime. But if it's just in-betweening work or following the instructions of the creators, I wouldn't necessarily consider that primarily a Korean work, though I guess in Avatar's case you could call it in an American/Korean collaboration.
 
I don't think it makes a lot of meaningful difference because you're ultimately associating elements which don't really have anything to do a show being western or eastern. Bebop has both stand alone episodes and plot arc episodes. Whether it has more of one or the other is simply a choice which is related to the specific show's design, not because it is "eastern" in any way. The same applies for the ending. It is very strange to make these connections when it generally doesn't seem true.

How is Cowboy Bebop's ending particularly different from something like Sopranos for example? Does this mean that Sopranos is a show where the ending reflects Eastern sensibilities? Of course not, let's not be silly here. Open endings are not unique to eastern or western storytelling. It is a narrative device for conclusions which is universal. Trying to suggest that a conclusive ending is uniquely western seems even dumber to me, considering how many eastern classics have very conclusive endings. I really don't see where you're going here.

It seems more like you simply picked specific differences between Cowboy Bebop and Avatar, and decided that these differences are more "eastern" or "western" based on some silly nonsensical rule which is actually untrue. My point of that Cowboy Bebop (and many other anime for that matter) share a similar format that Avatar does. The point is not that it is a western or eastern narrative format, but rather a universal one.

Trying to suggest that Avatar does things which anime does not will lead into a hole you cannot get out of, because I'm pretty certain that I can specifically find multiple anime series which in fact do handle narrative in the same way as Avatar does, and tackles the same elements that Avatar does.

In fact, I'll love to know how a show like Fullmetal Alchemist is different from Avatar. Just split the 64 episodes across 5 seasons, and you'll have something extremely similar.

Ha, Sopranos and FMA were exactly the two counter-examples that came to mind as I was writing my post.

I'll freely admit that I haven't thought too deeply about this. I'm trying to articulate dim feelings that I had while watching Avatar, but I can't express them very well and they may have been entirely false to begin with. I'll bow to your thinking on this one.
 

duckroll

Member
Well technically that would be an argument for neither being anime. But if it's just in-betweening work or following the instructions of the creators, I wouldn't necessarily consider that primarily a Korean work, though I guess in Avatar's case you could call it in an American/Korean collaboration.

It is not unusual for anime these days to be completely animated in South Korea, with the animation directors, key animators, in-betweeners, and paint/finish artists all being part Korean studios. The background art is sometimes also done entirely in China or Vietnam. We've also seen Korean storyboarders. I think that goes far beyond "in-betweening work".
 

-Minsc-

Member
Well, might as well write a few words on this.

Natsume Yujinchou Shi - Fin

This season wasn't bad, wasn't good. As others have mentioned of the pacing, season three and four could have been condensed in to one. Contrary to some here, I would have liked more of the Motoba storyline and more of the demon/youkai stuff.

Now, something I never got around to mentioning a few weeks back. It's been mentioned how Natsume never changes. While I'll agree changes in his character may have been slow and minute, there were certain things I picked up on.

Natsume's difficulty to open up to those around him I found to be very real. Especially the scene where he asked his parents if he could visit his home. As a person who had to learn to tear down the walls I put up around myself, I know how hard it can be to ask the simplest of questions. Truth be told, the simplest of matters can be hardest to get out. You stand there and begin to open your mouth, only the words don't come out. Even if you desperately want to speak your mind, you are physically unable to. Perhaps this is all typical of a teenage boy, I wouldn't know. It wasn't until my mid twenties I seriously tried to break out of self. I'll tell you this, it wasn't a quick and easy process.

Many are likely bored of Natsume's snail-pace development. While I don't mind it, I'd like to see more speedier development of Natsume's character in any possible seasons down the road. Realness can be good, however, a story does have to progress.
 

duckroll

Member
In Japanese, yes. When used in English, it's typically reserved for animation made in Japan.

Until American studios watered it down even further by producing anime collaborations like Animatrix and Dante's Inferno. Final Flight of the Osiris was produced entirely in Square Honolulu, and Matriculated was not remotely Japanese, neither is the director Peter Chung! Over half of the stuff in Dante's Inferno was completely produced, animated, directed, and storyboarded by Korean studios too.

So yeah, I think we have reached a point where "anime" basically just means anything which looks like what a lay person would think anime looks like. If that's the case, then Avatar probably qualifies. But that just shows how silly all these definitions are to begin with.
 

Branduil

Member
It is not unusual for anime these days to be completely animated in South Korea, with the animation directors, key animators, in-betweeners, and paint/finish artists all being part Korean studios. The background art is sometimes also done entirely in China or Vietnam. We've also seen Korean storyboarders. I think that goes far beyond "in-betweening work".

Well I'm not arguing with that, I'm just saying that an animation's country of origin is generally considered to be where it's produced, not necessarily where it's animated.
 

-Minsc-

Member
Anyone else find it interesting that shoujo movies seem to be dominating the west lately? Twilight, Hunger games, Snow white and the Huntsman, etc.
Saw the Hunger Games, I thought it was a good movie (haven't read the books). If by shoujo you mean it has a teenage female as a lead character, I suppose I could call it that. Using shoujo in the sense of being a chick flick or being targeted to young teen girls, then no I would not call it Twilight.
 

cajunator

Banned
Until American studios watered it down even further by producing anime collaborations like Animatrix and Dante's Inferno. Final Flight of the Osiris was produced entirely in Square Honolulu, and Matriculated was not remotely Japanese, neither is the director Peter Chung! Over half of the stuff in Dante's Inferno was completely produced, animated, directed, and storyboarded by Korean studios too.

So yeah, I think we have reached a point where "anime" basically just means anything which looks like what a lay person would think anime looks like. If that's the case, then Avatar probably qualifies. But that just shows how silly all these definitions are to begin with.

It's as confusing at this point as the car industry. there are no longer just "foreign and domestic" because non Us car companies are making cars inside the US and vice versa.
I see anime going this direction too.
 
Saw the Hunger Games, I thought it was a good movie (haven't read the books). If by shoujo you mean it has a teenage female as a lead character, I suppose I could call it that. Using shoujo in the sense of being a chick flick or being targeted to young teen girls, then no I would not call it Twilight.

The games idea plot sounded compelling but I didnt see it in fear that it wouldnt be the major focus of the books/movie :/
 

Steroyd

Member
Until American studios watered it down even further by producing anime collaborations like Animatrix and Dante's Inferno. Final Flight of the Osiris was produced entirely in Square Honolulu, and Matriculated was not remotely Japanese, neither is the director Peter Chung! Over half of the stuff in Dante's Inferno was completely produced, animated, directed, and storyboarded by Korean studios too.

So yeah, I think we have reached a point where "anime" basically just means anything which looks like what a lay person would think anime looks like. If that's the case, then Avatar probably qualifies. But that just shows how silly all these definitions are to begin with.

I tend to call them animations.
 

cajunator

Banned
Well I'm not arguing with that, I'm just saying that an animation's country of origin is generally considered to be where it's produced, not necessarily where it's animated.

This is what I'm talking about. Anime is still thought of as a Japanese thing in terms of production, where its conceived and the manga, etc. It is actually MADE in many countries.
 

BluWacky

Member
Anyone else find it interesting that shoujo movies seem to be dominating the west lately? Twilight, Hunger games, Snow white and the Huntsman, etc.

Interesting that you see Hunger Games as being shoujo. Why? Is it because the lead character is female? If you switched the genders, would you classify it as shounen? I've not read the books but I understand it's been a big hit with a cross-gender audience, unlike Twilight.
 

cajunator

Banned
The Hunger Games seems pretty damned shounenbro to me.
At least in terms of subject matter.

Are there any shounen anime with a female lead?
 
Until American studios watered it down even further by producing anime collaborations like Animatrix and Dante's Inferno. Final Flight of the Osiris was produced entirely in Square Honolulu, and Matriculated was not remotely Japanese, neither is the director Peter Chung! Over half of the stuff in Dante's Inferno was completely produced, animated, directed, and storyboarded by Korean studios too.

So yeah, I think we have reached a point where "anime" basically just means anything which looks like what a lay person would think anime looks like. If that's the case, then Avatar probably qualifies. But that just shows how silly all these definitions are to begin with.

Yes, the increasing trend of co-productions and outsourcing has blurred the distinctions between anime and non-anime. It's quite possible that in the not-too-distant future barely any of the animation work for the animated shows on Japanese TV will be done in Japan.
 
Status
Not open for further replies.
Top Bottom