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makeste · 4 years

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There's been a lot of talk about Mina's optimistic line about how they'll all be fine and back to class is a death flag, but if anything I think it's a desth flag for U.A. They'll be fine, but they won't be back to class as normal, because there won't BE a class to attend(RIP Shinsou)

seems like everyone in the fandom is talking about death flags and kids dying and society falling to pieces these days lol. fwiw, as I’m sure most people have seen by now, Viz’s translation showed that Mina was actually talking about Midnight, so if this really is a “famous last words” situation, it would apply to her rather than the kids.

but it seems like the speculation hasn’t really died down despite that! so since the whole “kids dying” thing keeps coming up, I’m gonna go ahead and weigh in on it again here and say that I don’t think it’s going to happen. so far I’ve mostly been trying to keep my reasoning short and sweet and leaving it at “it would be too dark”, but in truth, the real reason why I don’t see it happening is because I don’t think it would serve any purpose.

here’s the thing about character deaths: assuming that the writing is any good (which I would argue that it is, in BnHA’s case, although you are free to disagree!), they should always serve a purpose. and in most cases, that’s going to mean one of four things:

it serves as a way to write the character out of the story for whatever reason (for instance if the character is getting in the way of letting a plot be resolved, or if the actor is leaving, which of course doesn’t apply to BnHA but is a huge factor in a lot of other media). an example here would be Twice, who was written out of the story because his quirk would have prevented the heroes from having any chance at all of winning.

it sets the stakes and takes away the audience’s sense of security by establishing that No One Is Safe, and that People Can And Will Die. this is important in that it builds suspense and makes the audience more invested than they might otherwise be, because they can’t be 100% certain that their fave is going to make it out alive. a good example of this would be the recent massacre at Jakku, which showed in no uncertain terms how powerful Tomura has become, and also demonstrated that Horikoshi has no qualms whatsoever about killing off any number of pro hero characters in this arc.

it completes that character’s arc and serves as a fitting (if depressing) end to their story. this is probably the most controversial as far as “reasons for killing someone off” go, because it’s so easy to fuck up, and because someone will almost always argue that there were other, better ways for a character’s story to end. most “redemption” deaths fall under this category, as do the “character makes the ultimate sacrifice to protect their loved one” deaths. if Endeavor ends up dying there’s a good chance it will fall under this category. so far though, BnHA has been pretty light on these types of deaths, which tbh suits me just fine. ideally this sort of death is supposed to provide some sort of closure, but in practice it doesn’t always work out that way.

lastly, the death furthers the story in some way. it galvanizes another character into action, or serves as a motivation for them. or maybe the death shifts the political landscape of the story and sets new plots into motion. most tragic backstory deaths fall under this category; for example, pretty much the entire Shimura family (r.i.p.). this is another potentially controversial area though on account of there being many other ways to move the plot forward without resorting to killing someone off. not to mention that “fridging” deaths also fall under this category -- deaths where one character is used as a plot device to move another character’s development forward. Nana, unfortunately, is an example of this, but that’s another rant for another day.

anyway, so these are the four biggest reasons to kill off a character in a story. there are others as well, including simply adding some more tragedy and emotion to the story, but IMO that doesn’t really apply to this particular genre. BnHA isn’t a tragedy, nor is it the kind of bleak, grimdark narrative where killing off characters more frequently would make sense. this isn’t the kind of series where gratuitous character deaths are necessary to add shock value or realism. making the shift into that kind of writing this late in the game wouldn’t make much sense, and IMO would do a lot more harm than good.

so as far as I’m concerned, this means that if Horikoshi is going to kill someone off in this arc, that death needs to come under one of these four categories. oh, and something I forgot to mention before -- it should be necessary, as well. in other words, it accomplishes one of these four things, and is the only way that said thing can be accomplished. those are basically my criteria for a “good” character death.

and as far as I can see, none of the kids’ deaths would currently fall into that “necessary” category, or meet any of those other four criteria. none of the kids are so powerful that they need to be written out of the story (and even if they were, there are other ways to do that with AFO and the quirk-be-gone bullets now in play). they don’t need to be killed off in order to raise the stakes; clearly, fandom is already very convinced on that front already, or people wouldn’t constantly be freaking out over death flags and such in the first place. and none of the kids is anywhere near the completion of their respective story arcs. maybe if one or more of them had been featured more often recently, and there was some actual buildup, like we saw with Mirio right before he lost his quirk, or with Nighteye before he was killed. but we haven’t seen anything like that recently for any of the kids, with the possible exception of Bakugou (hence why I’m still pretty certain that he’s currently heading towards what Aizawa would call a “death”, with quotation marks, i.e. the loss of his quirk).

so that just leaves us with “their death would further the narrative in some way”, which is probably the most open to interpretation of the four. but for the life of me I just can’t think of any way that the death of a kid would advance the plot in a way that couldn’t be achieved by other means. want society to freak out about children being involved in a war? just injure a bunch of them, or have one of them lose their quirk on live TV with the world watching. want to traumatize the other child soldier characters for some reason? kill off one of the teachers, then. or, again, take away one of their friends’ quirks, and have them feel some misplaced guilt over not being able to stop it. this was the winning formula for the Basement arc, so I don’t see why it wouldn’t work here as well.

tbh a lot of this does depend on what exactly Horikoshi’s goals for this arc are, which still aren’t 100% clear even this late in the game. I’m not sure right now what he’s planning for the aftermath of this thing. will it be like Kamino and Fukuoka, where society is shaken up but still rallying behind the heroes and giving them their support? or are we instead building up towards a scenario where society’s faith in heroes finally crumbles and people are left totally demoralized in the wake of yet another brutal attack, and the total decimation of the Billboard Top 10? the latter outcome is seeming more and more likely to me, but an awful lot of it depends on how the next few chapters play out.

my best guess is that we end up with a scenario where the heroes succeed in staving off total disaster, but at a heavy cost. a lot of the pros are either dead or out of commission, Tomura and the League are still at large, and everyone is basically just sitting around trying to process what just happened and figure out what to do next while they wait for the other shoe to drop. word gets out that the kids were pretty much the only reason the battle didn’t end in even greater disaster, and as a result they get swept up in the ensuing political drama. the HPSC tries to parade them around as the next big thing; humanity’s hope for the future. but meanwhile a growing faction of the general public is furious at the government getting children involved in a war, and start arguing that the hero program should be shut down and U.A. should close its doors. and in the midst of all this, the kids try to lick their wounds and deal with the aftermath, and enter their second year very much unsure of what the future will hold.

anyway, so this all got very long-winded and out of hand as usual, but to sum up, I don’t think any of the kids is going to die here, and I think there will still be a year two of U.A., but that it’s going to feel very different from the U.A. we’ve known up to this point. if the threat of Tomura is still looming over everyone’s heads I very much doubt the kids will be able to focus much on their studies. but it may also be a case of them trying to cling to what little semblance of normalcy they have left. the teachers might decide to press on simply because it’s the only thing they can do. basically I’m anticipating something very similar to the aftermath of Kamino, but with the tension ramped up to 11, and with the adults fighting a losing battle to keep the kids from getting caught up in the middle of it all.

in other words, I don't think it’s an actual death-death we need to worry about here. rather, it’s going to be a much slower and much more subtle death by a thousand cuts. but it’ll be the kind of angst the characters can still work under; the kind that, rather than suffocating them, instead makes them grit their teeth and find a way to push forward. so yeah! anyways though, now that I’ve said all this, watch as Horikoshi goes and fucking decapitates Aoyama next week or some shit. lol maybe I should knock on wood just in case.

#bnha 279 #bnha #boku no hero academia #bnha meta #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #asks #anon asks #long post

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dereksmcgrath · 3 years

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The League of Villains are not the easiest people to root for. But censoring how violent they are, and how violent their opponents are, is not making it easier to see them as compelling antiheroes, at least not as easy as it was in the manga.

I again am wondering what happened in the production of this season--and whether other studios should take over some arcs of My Hero Academia.

“Revival Party,” My Hero Academia Episode 109 (Season 5, Episode 21)

An adaptation of Chapters 218, 224, 225, 226, 227, and 228 of the manga, by Kohei Horikoshi, translated by Caleb Cook with lettering by John Hunt and available from Viz.

My Hero Academia is available to stream on Crunchyroll and Funimation.

Spoilers up to My Hero Academia Chapter 326.

Before I get started, I should put a disclaimer that has been largely unspoken in these reviews. I tend to capitalize “Hero” and “Villain” when writing about the literal jobs or legal titles given to characters in My Hero Academia. If I just meant what role a character has in the story, I would have lowercased it. For example, the League of Villains is made up of Villains, but in this arc, while they are not our heroes, they are definitely our antiheroes.

And that detail has made it even more difficult to write about an episode like this.

I delayed writing this review largely due to scheduling and time availability. Seriously, look again at the top of the post and how many chapters this episode is trying to cram in. Even with just a few pages out of each chapter, that’s a lot of content. I’m not asking for a One Piece pace, but there is something to be said about how helpful the two-chapters-adapted-per-episode guideline was in previous MHA seasons.

And those chapters also contained a lot of content for me to compare back and forth to really figure out whether the anime was censoring much from the manga. (Answer: the anime censored a lot, but even those chapters from the manga were not as bloody and gory as I remembered.)

All of that being said, while time availability has been a challenge this week, that’s not the only reason I delayed getting to this episode. I can’t lie that, given the difficult content ahead, this isn’t exactly fun viewing or entertaining writing. This is digging into the dark side of this series and what it says about larger societal concerns with mental health, corporate power, abusive families, gore, and what amounts to one-person natural disasters like Shigaraki. Not everything in the superhero genre is sunshine and lollipops. But I anticipated how much of a marked departure this arc was going to be in terms of violence and tone, given how far along I’m at in the manga: as this series is going, it’s going to keep being pretty grim until Izuku returns to UA. Engaging in that story is difficult, compared to how comparatively lighter the series has been up to now. And I’m even including All For One’s revelation at Kamino that he effectively kidnapped the grandson of the woman he killed--and now, looking at that grandson in this arc, we’re reaching the logical conclusion to that darkness.

It has been past time to really delve into Shigaraki’s origin story, and like what we learn about Toga in this episode, I feel underwhelmed. We’ll get to more about Shigaraki in the next episodes, but this one felt like it could have stood a little more room to breathe. If the opening could have been moved to the previous episode, if this one could have started with Toga facing Curious, and if the episode had ended with Toga passing out, I think all of that may have given Studio BONES more time to offer something more visually impressive than what we got, as well as add back content in the manga but cut from the anime, such as actually showing Re-Destro, Skeptic, and Trumpet mourning Curious’s death.

(And did the anime change Skeptic’s dialogue from the manga to make it sound like, in this anime, Skeptic doesn’t know Toga just murdered Curious? The man has surveillance everywhere and didn’t see that? But I’ll have a lot more to say about how incompetent the MLA comes off, and how that makes any victory by the League less exciting.)

As I said before, if you’re going to show how systematic change is needed and can be achieved, having one set of villains fight another set of villains isn’t the worst approach.

But it is also an approach that can obscure just what you’re supposed to be fighting against.

The Meta Liberation Army is shown to have its hands in various corporations, political groups, and mass media, all of which is not without its own set of unfortunate implications.

I hate the word “elite” used as an insult. by itself, the word should just mean the best of the best, yet, rather than “elitist” being a fair criticism against a system that elevates only the best at the expense of what is good for as many people as possible, the word instead usually is used to attack people who already have power but are in no way the best of the best. Seriously, how do you look at a post-2016 United States--or a post-W, or a post-Reagan, United States--and ever think these clowns at the top of the Republican Party are the best of anything aside from being the least pungent of all choices of horse shit that party puts in front of you? What I’m getting at is, lambasting the elites only works if the elites were the worst thing to fear. An argument can be made that the elites, when they are apathetic, are the problem; but when people with power, but who lack the skill to handle it expertly, abuse that power, those aren’t elites, they’re not the best of the best--they just suck at what they do, and their incompetence causes problems for everyone.

With all of that in mind, I can’t help but wonder if the MLA in MHA are elites or just incompetents.

When My Hero Academia presents the elite as the villains, that can be bothersome. Showing that the most influential and most successful in electronics, business, politics, and mass media also happen to run a cabal from the shadows is bothersome, as it reinforces distrust in such systems not based on evidence but on the worst suspicions we have about that power. It’s not like this is original to this series: fear of the shadowy forces working in the background have been pivotal to superhero stories, whether Cadmus in Justice League Unlimited or, showing that even the heroes can be bad guys, the Illuminati in Marvel Comics.

Mitigating the more problematic aspects of this portrayal is the fun Horikoshi obviously took with some details: you wouldn’t name Curious’s villainous mass media company after your own publisher without some biting-the-hand humor involved to poke fun at your own role in a power structure. You know, kind of like how I can’t pass up remarking how the villainous group in this arc shares its initial with the most notable literature and languages academic organizations in North America--even as I get the sense that academics won’t get my joke, given the continued separation between serious academic work and serious fan/pop culture work. Or the fact that a lot of academics have little to no sense of humor--myself not excluded.

But going back to “the heroes being bad guys,” this approach with the elite being the villains is not unwarranted. We’ve seen the best of the best in the forms of Pro Heroes and realizing they are not without their problems: All Might’s role as a symbol allowing others to not rise to the occasion when they expect him to save the day, and Endeavor is a domestic abuser. So it makes sense, after sticking with the Pro Heroes for so long, that we finally get a group of Villains that are really a legitimate threat, having operated in the shadows for so long until the time is right. That should be a monumental moment for this series. We reverse it to finally show Villains who are at the top of their game.

And the Villains at the top of their game are going to get their asses handed to them so quickly by a ragtag group of misfits. How disappointing.

It’s not unexpected: history and previous pop culture are full of the ragtag underdogs beating out those in power. But as with previous victories for the League, it feels less like they were really that much better than the MLA. Rather, it’s more so that the plot gave them last-minute power-ups (including revealing this late in the game Shigaraki’s back story to show us, no, he always had this power, this isn’t an author’s ass-pull, you’re imagining things). And it’s more so that the MLA is just foolish. It’s one thing to have Re-Destro be so overconfident to challenge the League in this manner; it’s another to not have better contingencies. Shigaraki brings a kaiju, Re-Destro couldn’t sacrifice a few bucks for a Trypticon? But perhaps I’m not being fair: I complain about All For One being too overly prepared, now I’m complaining about Re-Destro being so under-prepared.

It doesn’t help that I couldn’t figure out Skeptic’s plan. Is he cloning Re-Destro with Twice’s ability so that they can have a figurehead? That would make sense. Or is he cloning Re-Destro with Twice’s ability to keep Re-Destro always present? Because, if so, he does know that Twice’s Quirk cancels when he’s knocked out or dead, right? I mean, if he doesn’t, that helps clarify that the MLA is not as all-knowing as they seem--which makes Re-Destro’s goal to do what the government has not and take down the League all the more comical given how overwhelmed Re-Destro ends up being by these sidelined outcasts.

With the MLA, it’s too bad that, even when we get to see villains supposed at the top of their game, their portrayal is hampered by the series itself, whether by introducing the MLA so late in the run that their successes are going to immediately become pathetic (worsened by how the anime has handled adapting the manga this season) or by making the League losers for so long that, while we get behind them as the underdog in this fight, it can feel like too little, too late.

The League of Villains, when not benefiting from All For One’s resources and Shigaraki’s planning, have just been victims of luck: any victory has had its cost, given what happened to Magne, and there hasn’t been an obvious strategy on Shigaraki’s part for bringing in admittedly powerful members like Toga, Twice, and Dabi but who have their own flaws that get in the way of what the League could accomplish. Even the victory against the Shie Hassaikai and the Pro Heroes had more to do with how brutal the Villains were willing to be, less than some brilliant strategy, regardless Shigaraki’s game metaphors thrown back in the face of the now armless Overhaul. This arc was supposed to be a good opportunity to show some of the League unlocking their potential and showing how audience members like me underestimate them at our peril. And I don’t get that sense of peril, when Toga’s victory is thanks to a last-minute power-up, one that was already vague in the manga--“awakening” now being something Quirks can somehow do--and almost completely unstated in the anime--largely cut in this episode, along with Curious’s world-building information about “Quirk counseling” and other government assistance that I wanted to hear about in this series but keep having sidelined for under-animated action.

And speaking of under-animated action, I was really expecting something more brutal in this Toga story, and it wasn’t there. I should be grateful: I did say I was hesitant to watch this gory an episode. I went back and forth between this episode and the manga chapters to try to figure out what was being censored and what wasn’t. The wiki helped, but I also think the black and white colors of the manga somehow made how brutal all the damage was look more impressive. This anime needed to up what was already in the manga--and instead, Toga gets blown up a few times yet looks comparatively still together. I know Curious’s followers had their blood made explosive, so no wonder they died in such shiny (and censored) fashion, but Toga gets out of this largely in-tact and her outfit relatively fine? Don’t get me wrong, I’m grateful this didn’t turn into cheap fanservice, but I expected something more graphic. Everything, even the blood, just looked so cartoony that I didn’t feel the dread I expected. I really don’t want to sound desensitized to violence, because I’m not: I just think BONES made a stylistic choice for how to mitigate the intensity of this kind of violence so not to turn away a younger audience, and instead they are not letting this show grow with its audience and show that, no, something this gruesome has to be made to look gruesome.

At least the choice for how to show Curious and others dying was visually creative. The manga showed the bodies largely in shadows as they hit the asphalt: effective, but not that creative. Here, the anime shows a spray of blood in the air--creative, although without the well-done parallels that could have happened (see Spy x Family making a spray of blood look like simultaneous fireworks happening nearby).

Too bad Curious is gone. I’m a sucker for criticisms of mass media, and yet another woman character gets frigid. Now we’re stuck with the other MLA members having largely little to no personality. Seriously, I’ve seen people do better with Skeptic by amping up his social awkwardness so that there is at least something there other than only “over-confident tech CEO.”

While the personalities of the other MLA members are less interesting, the acting and casting made significant improvements, thanks to better material to work with. Takako Honda and Tara Sands knocked it out of the park as Curious, bringing all the right beats of how a media mogul would talk, especially as on-air talent. I had initially had some concerns with the voice chosen for Ben Diskin’s performance as Skeptic, but it’s working for me now--very guttural, befitting his grunge Gorillaz-inspired design and theming. It was odd how the voice direction was trying to make the usually reserved Dabi more fiery. But it makes sense for the choice to have Geten sound so icey cold--especially as, of course, Endeavor’s son Dabi would freak out this much when hearing about another prodigy having their Quirk overworked since childhood and the stress that’s put them under. And Sonny Strait was given such a good dialogue with Giran that was really effective, bringing a lot more civility to this uncivil person.

But that still leads to the other problems with this episode: so much content has been cut from the manga that, as other writers online have said, we’re kind of thrown into the story just assuming we’re to know who Re-Destro is and what his deal is. Summarizing all of that with a narration by Izuku--and I’ll circle back to why having him having any role in this episode is just lazy--is far less effective than how the manga handled it. I can’t do justice to summarizing the problems when other writers online have done better, so, I’ll just say, go read the manga instead: Horikoshi’s allusion to The Killing Joke is excellent visual shorthand for understanding what Re-Destro is all about, imbuing him with sad clown details that complicate his overall thuggishness and make you question whether that’s all he is or whether he really does love these people. Given what we will learn soon about Geten, I do think he loves these people, all the more reason why cutting the scene where he is crying over Curious’s death a significant flaw for what is supposed to be contained in this episode. As I said, this episode should have centered on Curious and Toga--not a cliffhanger about Twice, not foreshadowing Shigaraki’s origin story and power-up, not starting the Geten and Dabi fight, just that woman and that girl, that’s it.

I don’t think the animation was up to the task. Today on Twitter, a few clips have popped up from the Re-Destro and Shigaraki fight, and while I see potential that is pulling from similar animation techniques used in the Sports Festival--the arc that, so far, has been the arc to beat for this series in terms of quality animation--it still felt like it lacked impact.

This episode as well has the same problem. I understand that an episode will pick the scenes to under-animate to save money, but when it is obvious which scenes those are--any time Deika residents stand frozen surrounding Toga--it is not longer a stylistic choice but one that takes viewers out of the episode and make them realize how cheap this looks. Given how intentionally cartoonish these Deika residents are, given their various appearances, the freeze-frame approach is drawing attention in the wrong way to what should be a unique feature of this series and instead fixates on those character designs at what should be a tense moment.

The overall animation has been suffering this season, and while making Toga in Curious’s arms look more like a painting was upping what is already in the manga, it also felt like a cheap trick, along with how bloodless Shigaraki’s attacks look compared to how brutal it was in his first use against Aizawa in the first season. Twice’s conversation with himself in the manga came across like a voice in his head, while the anime seemed to make it more an ongoing conversation he’s having in real-name, which is less interesting and leads to that really awkward scream face he’s making under his mask that wasn’t horrifying to me, it was just goofy. Even Re-Destro in his moment with Giran looked off and would have benefited from more thought as to how to position him to match a 3D model while also not looking so uncanny as to not be believable.

Season 5 of MHA has had far too many problems to sit through without griping on my part. This arc was the first time we were centering on only the Villains, and it has felt like a typical MHA episode. Only now did I finally notice the opening theme changes the card to read My Villain Academia--which is its own set of problems, originating from that same gag in the manga, as there is no school for these Villains for the re-naming to work either. For an arc this pivotal to the story, a new opening theme was needed; instead, we have an opening this season that combines parts of the Endeavor Agency Arc and the League vs MLA Arc. We needed another narrator other than Izuku to introduce Destro and to do the next episode preview--especially when Izuku shouldn’t be knowing this stuff. I understand that this narration is long after Izuku returns to UA after the PLF Arc, but if so, when Izuku still sounds the same age in these narrations, it doesn’t come across as “Izuku narrating from far into the future”: I anticipate Toho and Funimation could not have accounted for everything, but maybe telling the actors for Izuku, “Sound older,” would have been the approach to take. And as I said last time, Present Mic introducing the Villains’ Quirks is a missed opportunity to have Giran do that instead.

But I started this post wanting to talk about making the Villains and Villains fight each other--and I end this post conflicted whether anything worthy was accomplished. I know having Curious be so obsessed with getting the big story is supposed to make it humorous that she died, potentially biting satire about headline-obsessed sensationalized journalism. But it’s also a cheap way to have her die--her obsession makes her ignore her oncoming death, and it’s as if the story is trying to parallel her potential mental condition to Toga’s. I don’t know what to do with all of that from a disability studies perspective, as I don’t feel comfortable taking this argument further yet without more consideration. But the fact that Curious actually calls Toga “insane” in the subtitles only reinforces how awkward I feel talking about it. What was gained in this episode? We learned about Toga’s backstory--and it breezes by pretty fast, albeit buoyed by Curious making sure to emphasize how it is reflective of larger societal concerns, before we drop any further discussion about them so we can get back to action. None of that has me looking forward to how rushed and potentially un-gory Shigaraki’s origin story will be animated. We set up a potential storyline where we meet the proto-Izuku classmate she sucked blood out of--which, given how long it took the woman All Might saved in Kamino to show up again, likely won’t get a pay off any time soon. And we gave Toga a power up--that the video games already gave her years ago because otherwise her combat abilities, while impressive, are not going to do much against powerhouse opponents.

It makes me wish this episode had, as I said, more room to breathe, to actually adapt the manga instead of sticking so close to it, so that we could get more interiority to Toga to understand why she picked Ochaco’s blood (so she could be closer to someone she is obsessed with) and see her intelligence (she picked up really quickly on touching everyone despite having Ochaco’s Quirk just these few moments, and she knew how to deactivate it, too). While the production is obviously present, especially in animating Toga’s use of Ochaco, all of which was impressive and well-acted by all parties involved, this felt like a rush job. If Studio BONES is going to keep making original MHA films instead of trying to adapt the seasons well for TV, then either make the next arcs their own theatrical films and skip a TV broadcast (despite how unsafe that is during a global pandemic and how limiting that is for people who can’t afford that expense compared to monthly streaming costs) or, as I suggested before, have another studio take over some arcs for the sake of variety and theming.

#my hero academia #anime review #mha spoilers #himiko toga #Chitose Kizuki

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princessbilliam · 3 years

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Otaku Nation: Anime's Effect on American Pop Culture

The modern age of Anime arrive in Japan in the 1960s, and within the course of the following decade or so prospered to the giant robot, distance battle genre bender that we would soon realize as the anime of now.

Evolving within the next 30 years or so, it reached a summit where it could start to overtake and eventually become an essential component of different cultures, similar to the Hollywood of the 1930s quickly grew to encompass the remainder of the planet and inform their pop culture. In precisely the exact same fashion, American pop culture becomes increasingly informed by the trends and cult reaction to anime.

On the other hand, the national awareness as to where these shows came from as well as the poor marketing of the shows made them forgettable and rather than a jump in point, they behave as a nostalgic reminder. Know more NaijaVibe is a pop culture and entertainment website

When Speed Racer came, the beginnings of a true understanding that Japan was producing something fresh and exciting started to install. The prevalence of Speed Racer was never that of its American contemporaries, but it created at a established fanbase the openness to devour newer offerings in the future in Starblazers and Robotech (a convoluted perversion of multiple animes, but nevertheless a comparative success in the countries ). Nonetheless, the effect was largely underground.

From the 1980s, the addition of Beta and VHS made it possible to join together with friends and watch more varying forms of anime. When Akira arrived in 1989, the effect was real. People who knew of Akira were lovers for life, eagerly awaiting their opportunity to partake more and more of the developing tendencies out of Japan.

For Japan's role, this age was a period of major expansion, a veritable boom in the company. The 1980s saw the success of shows such as Gundam and Dragon Ball overgrow the national consciousness and become runaway sensations. The explosion of the manga sector before hand, with serializations of works by Akira Toriyama and Katsuhiro Otomo in the early 80s simmered in the childhood of Japan and finally seeing the commercial possibilities of those functions, creating in the process a major conglomerate of companies in the Akira Committee to bring the huge funding of Akira to fruition.

By the 90s anime was the mainstream in Japan, and the result was that the ramping up of production and increased output of shows. In part because of the simple, streamlined art style, multiple artist were able to work on a single project and create episode per week for years at a time, leading to monumental runs such as the case of Dragonball (156 episodes) and Dragonball Z (276 episodes). The ability to serialize and turn a story into something that millions of youths would tune into each and every week made firms billions (of yen) and secured the sorts of industrial sponsorships and funds necessary to undertake extraordinary jobs that would require huge sums of cash to finish.

Back in America, a few executives were starting to see the impact that these shows were having in Japan. Slowly and very carefully they began taking the hottest, Dragonball Z and Sailormoon by way of example and finding timeslots first in the afternoon, before the daily retinue of American cartoons, testing the waters of marketability. In 1995, the trickle of anime into the states was only that, a relative trickle. Sailormoon aired every morning in syndication, but sliced and missing key seasons to relate the endings of significant storylines. Dragonball Z ran an equally mild run early on Saturdays in syndication that was abruptly cut when the rights to the show have been lost by the initial company and bought by Funimation.

All the while, works from Japanese specialists like Hayao Miyazaki were being overlooked, passing undetected through limited release in the countries, while making him a God of his own craft in Japan. All the while firms like Manga, Funimation, and Viz were buying up licenses and releasing small known, untraceable reveals that no one knew the origin of. The shows were treated badly, often dubbed and cut up to accommodate American audiences. Viz even launched the very first Anime magazine in 1993 using Animerica, primarily reviewing their particular products but still giving a view of this civilization that nobody knew anything about.

Butin 1995, the release of the shows in the Usa along with the premiere and rave reviews of Neon Genesis Evangelion at Japan, Otaku curiosity abroad began to spike. Otaku is a bid of a misnomer as it is a little bit of a insult in Japan, a mean spirited way to call someone a nerd. Here though, it normally signifies a purveyor of Japanese pop-culture and with all the Otaku so in fashion right now it's less of an insult than the clique. The early 90s was a time of massive growth of interest from the little known import of Anime however, and the American marketplace was not slow to react.

In 1997, tv programs made broad sweeping moves to bring displays to the mainstream. The Sci-Fi station had always needed a small market in its own latenight line up for cult classics like Vampire Hunter D, but Warner Bros finally brought the genre to primetime. And in 1998, a small known video game for the Game Boy exploded at the American market, bringing along with it its whole arsenal of marketing ploys, including the childish, but enormously popular Pokemon anime. Finally, kids throughout the nation were gluing themselves to the tv series as earnestly as their Japanese counterparts had for nearly a decade earlier hand.

Miyazaki's new film played to better reception, receiving a proper release through Miramax. Princess Mononoke has been a success in the terms of the time, even receiving the coveted two thumbs up (let alone an overview whatsoever ) out of Siskel and Ebert. Movies started to arrive in America more liberally, still finding small release, but release at least. And the shows started to pour into. At the time, the fansub scene was more or less the only way to get access to some of the more obscure titles being released in Japan. But since the market thrived, so did the licensing by major companies, and it really started to become prohibited to fansub certain shows since they might be published by a company eventually.

Thus began the closing and full assimilation of Japanese pop culture into American. The DVD format sped up the process, as more episodes of a series could be packaged into a disk than a VHS and production prices plummeted, removing a lot of the financial threat of an untested foreign product in the American marketplace. Cartoon Network surfaced its Toonami afternoon cartoon slot, in which they showcased anime that had been in existence for just a time, but was able to appeal to a much larger demographic and spread the word about these great narrative driven cartoons from throughout the ocean. An whole generation grew into the expanding popularity and became entranced by the epic storylines, amazing storytelling and capacity to show in a cartoon what many considered adult topics and much more mature perspectives on matters like competition and personal success. The Japanese ability to cross genre as well as the extremely higher production values which started to enter displays made in the late 90s and outside supposed amazing shows that appealed not only to children but to adults and outside.

What began as a crossover, gradually began to actually alter the manner in which American's promoted their tv to kids. Shows with more adult articles appeared, and in some cases emulated the Japanese structure. The authors at Pixar crafted brilliant, more maturely themed animations with no ridiculous musicals of Disney ago, and Disney even dissolved their attempted format in favor of much more adult, stories that were complete. The devolution of American quality in animations though as they attempted to match the output signal meant even more Japanese entries in the market. Now, if you flip on Fox kids in the morning you'll find more than half of those shows on are animes. And Cartoon Network nevertheless presents multiple entrances themselves, with much more adult offerings in their Adult Swim block late at night.

These days, you will find anime oriented t-shirts anyplace, an entire aisle devoted to DVD releases at Best Buy (compared to the 1 row only seven years ago) and the achievement of this Anime Network, a channel solely devoted to Anime programming. Magazines like Newtype, a Japanese trade magazine to the Anime sector is now translated and released in America every month with previews of new shows, and American directors like James Cameron are looking to direct live action versions of manga like Battle Angel Alita.

Now, we view new releases from Japan within seven weeks, and the fansub community has to scramble to keep up with what is legal and what's not legal to offer through their services. The internet itself has made it a huge community, in which a show can be recorded on Japanese television, ripped and subbed, subsequently uploaded within a couple hours for the entire world to view. There is no place over, and new displays are immediately available. And it's evident in the universities too. Japanese is one of the most pursued languages, filling up instantly with a lawn long waiting list each year, and much more segments being added each year.

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courage-a-word-of-justice · 4 years

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Magia Record 4

There’s a fish behind Iroha. Also, I was confused about the ketchup cake thing Jenn mentiond in one of her posts until I saw it here.(On a related note, ketchup cake seems to really exist…but only in Canada.)

Ah! Tsuruno. I’ve heard of her from reading around about this mobage.

The coding of the episode went funny again…

I feel like despite this being everything Madoka was, this seems to have lost some of the charm somehow. I’ve been reading that others are having similar experiences, though. Update: I think I know why now…although there are magical girl events fuelling the entire thing, the show is currently more bent on being a CGDCT. That’s why I’m not so happy with it…I dunno about others, though.

I suspected Séance Shrine was Mizuna Shrine…I mean, it was right behind Iroha and co.

Who was that blonde girl…?

I thought I just saw face-stealing aliens swoop in (i.e. someone didn’t bother drawing in the girls’ faces). I thought that was just a Bones thing exclusive to BSD.

“Olibe oil” (sic). Also, there are creepy blue (green?) figures walking the aisles…

I notice Iroha needed an extra bounce to get over the gate.

What’s that orange marking on the girls’ faces…? Update: Reading the wiki reveals it’s the Witch’s Kiss, or something similar to it.

Uchitama 3

Well, it says “chome” but gets translated to “street”…which is a bit weird. A chome is a city district, which functions much like a street but isn’t the same.

I just realised the title card has a dog’s face on it. Maybe next time it’ll be a cat’s face…

Oh my gosh, it’s a Yu-Gi-Oh duel! Teenager-ness…(?) What is that (LOL)?! *squints at screen* Oh, chuunibyou. That makes sense.

They even materialised the (Gon’s) chair! (LOL)

At least this matchup isn’t Bull vs. Momo…thank goodness(!)

I seriously love how much skin they make Bull show…(LOL…?)

Well, if the race to the top is exciting then the race to the bottom should be humiliating, no? That’s how these things work.

LOL, just seeing a badass dude that’s meant to represent a wolf howling like one is hilarious. (But seriously, are any of these neighbourhood dogs a Bad Enough Dude, to paraphrase an old game meme?)

Don’t Naruto run, Pochi! It’s dangerous!

Ahhhhhhh, so that’s why people call Pochi “Shiro” and feed him tofu…

The video got encoded funny again…

Uchitama 4

This is like Wakasa all over again…

The “My Name is Gon” title is a reference to “I Am a Cat” (Wahagai wa Neko de Aru). It actually doesn’t have the word for “name” in there, which is a bit weird…Update: It’s about the day-to-day introspection and life of a cat and the wagahai suggests the cat thinks rather highly of himself, so I’d assume the former (applied to a dog of course), if not both of those things to be part of this.

The fact that Gon doesn’t move his mouth while telling us weird things (such as how Bull’s sweater reminds him of an old lady in Osaka) is hilarious. It’s almost like a play with Gon as narrator.

See? That titlecard has a different dog’s face now! (I believe it’s Kuro’s, actually.)

This series is actually really informative about cats and dogs!

The Detective Conan parody cat is pretty interesting in regards to how the series wants to play with the human/animal dichotomy.

Now the titlecard has a cat’s face.

This song is so energetic! The banners are pretty funny too – I mean, “trying to get a ripped body” is impossible for a dog, right?

Yyyyyyyyup, Ume is singing this song (Sanchome no Hoshi* or The Star of 3rd District*)! I’m being spoilt!

Eizouken 5

Iron Giant…I thought the name sounded familiar. Turns out it’s a Brad Bird-directed movie.

This episode is very Scott...LOL.

I like how they showed the back of the guy to correspond with the back of the robot.

Iruma 17

Gap = sukima, as you might know from a post I made re: Mairimashita! Iruma-kun puns.

“Yes, boss!” in English.

Why do people being questioned at a koban always have katsudhum? (Hataraku Maousama reference)

Ooh, this long-haired demon from the Game or New Magic battler is hot!!!

That's the 1st time Acchan and Bakemi appear...

I'd assume the ga in Gabuko means gakkou (school).

Now it's ki su ma...(instead of sukima)

Iruma 18

Aw, Kiriwo's so cute...

...and he's now a sadist. (Good job, me...I don't like sadists much.)

The cyclops girl's name is Dosanko, huh?

Hanabi are "fire flowers" (translating somewhat literally), which is why they "bloom" in the translation.

Update: Oh, I accidentally skipped ep. 17. I was wondering how Sabro got to hold up Comecome's stall…

BnHA 76

I’m not sure how the subbers got “Go entropy! Plus Chaos!”, although it might have something to do with Saikou da! (which I made out from listening to the audio).

Okay, now you can hear them say “Plus Chaos”.

Note Overhaul’s eyecatch background is purple, which contrasts Deku’s green. By the way, the eyecatch says that Overhaul belongs to the Shie Hassaikai and not the League…the guy’s always been picky about not being associated with the League.

The one time I turn the volume off, I don’t need it (LOL).

Dame da is closer to “It’s useless” or “You’re useless” than “Naughty girl”, subbers.

The coronavirus has taught me that masks make people seem less human, especially those with weird mouths like Overhaul’s plague doctor/bird one.

BnHA 77

In one of the Discord servers where Mudamaid appears, I decided to take Chronostasis. Why? He isn’t that bad-looking when he hasn’t got his mask on, to be real with you.

Froppy uses “senpai”, not Tamaki’s hero name.

I believe Tamaki calls Tsuyu “Kero-chan”, hence “Miss Ribbit”.

I wanna cry…I know Nighteye won’t see All Might again until All Might himself dies…(and this is because I’ve read the manga – thanks Viz and Shonen Jump for doing that!)

Shigaraki makes me beg the question…where do those hands of his come from??? Update: Ewwwwwwwww, those hands come from individuals affected by Tomura’s Quirk! (I think that’s a spoiler though…)

I almost got to the point of crying. I mean, I knew it would happen, but seeing it animated…makes it worse, y’know??? (Also, I accidentally might’ve stuck my finger in my eye when I was trying to wipe away tears, so either way, I teared up.)

BnHA 78

Huh? This OP is awfully cheerful after Nighteye’s death…I think it’s called Star Maker? Update: Star Marker by Kana Boon.

Well, you do realise I don’t know about anything after this point…all over again. So your surprise will be mine too.

LOL , it’s a Titan! (Apparently – according to the wiki pages I read – Gigantomachia is based on the Titans of lore, so…that’s true in more than one sense when you take into account Attack on Titan.)

The birbs are so cute!

That was just a few solid minutes of recap. Not as bad as Detective Conan where they frontend it, but still bad.

Hmm? I thought I saw black hair on Kurogiri…?

“He’s a walking disaster.” – That’s what I’d say about Bakugou, LOL.

Shouto “Daddy Issues” Todoroki taking the stage again…not that I mind, but…isn’t this Midoriya’s story?

I think I saw a Funko Pop All Might in the ED…?

You can see someone with a red wing Quirk. Based on what I’ve read around, that guy is Hawks.

Deku’s shirt at the end says “sheets”, not “shirt” (it’s missing a small ya).

BnHA 79

“…and I like udon better!” - *facepalm* That’s not how you make friends, Yoarashi.

Gang Orca’s like the Gordon Ramsay of heroes…with much less swearing.

*laughs behind hands as kids spill out the door* Welp, this is going to be real good.

This blonde kid is basically Monoma ver. 2!!! I hate him already!!!

Oh…that’s surprisingly strategic, Bakugou…*shows image of kid being dangled by a rope* Uh…or maybe not.

Who’s this guy with the bolo tie, anyway…?

Uchitama 5

I seriously thought this cat was Nora…(Sakura)

Does “big sister” refer to Lilly or another cat…?

Oh, I was wondering why Sakura didn’t have a cat tail…turns out she’s a pig. (Huh. It reminds me of a kinder version of the Africa Salaryman mixer joke.)

I like how open the series is in regards to interspecies love. Then again,…bestiality is an absolute no-no in my books, so maybe not.

Is it just me, or is there a slight bruise around Nora’s left eye…?

It’s like a Boueibu reunion! Shirai and Ume at the baths! Yay~!

There’s something absolutely silly about seeing anime boys hide in cupboards like cats. It puts a stupid smile on my face, like Eizouken does.

“I told you to get in the bath already!” – Gaddammit, Koma!

How do Gon’s glasses not fog up in the bath? (MST3K mantra required)

Oh, Nora does have a bruise around his eye! What’s it from, though?

Way to upsell Koma’s services, Kuro. (partially sarcastic…?)

“Can I say we’re having a doggone good time?” – Remind me to check what that sounds like in Japanese later. Update: Kuro says something that sounds lik izoizo in the line beforehand and then matches it in this line. In order to match the puns, there’s a pun in the English translation too.

ID: Invaded 5

Matsuoka’s glasses thing reminds me of Kanamori (Eizouken)…

“hole experience” – Is that a pun…?

Never ask a woman her age.

Hmm…”maidenly innocence”…

Why do some people believe “never mind” is one word???

I just noticed there’s a differently coloured bar on the title card…maybe that’s how far into the episode you should be. Also, is this well a pun on “falling for you”?

I noticed the blood had a weird texture to it. Also, I noticed the woman had heterochromia bfore it was pointed out she’s not real.

I have a theory. See, John(nie) Walker is an alcohol (sake) brand, right? This is Sakaido (as opposed to Anaido, who’s the Perforator and ana = hole). It’s the same character, so (I suspect) Sakaido’s crime has to do with alcohol…

Hmm…this ain’t gonna pass the Bechdel test after all…

Oh! Post-credits segment! Keep watching.

ID: Invaded 6

“Matsuoka was injured” – Er, he still has the knife in him…?

Ohhhhhh…this has gotta be Hondomachi!

I predict Hondomachi and Sakaido are going to go head-to-head someday. Update: Or those two vs. Johnnie Walker.

There was a cut-off footprint…

Isn’t it possible for a person to kill someone without knowing their name?

*cries* Sakaido! I’ve never seen you so emotional before…!

ID: Invaded 7

So Narihisago did look like Sakaido at one point…when his daughter was murdered.

The thing that reads cognition particles has “Back ground. Rad. Lev.” on the bottom of its screen.

I don’t have the sound on right now, so I dunno what Matsuoka was reacting to specifically…(aside from the guy owning up to whatever was done.)

Interestingly, Katsuyama has the character for “win” in his name. However, this is the only link I’ve found between the serial killers and their names.

There’s a character which appears in both the word for “martial arts” and one of the (dead) professional fighters – Takehiko Fujita. It means stuff like “war” and “military power”.

Oh! There’s a bar on the titlecard and this one is up to 900 of 1200…I wonder what that means? Is that an indication of time, perhaps? Also in the bottom left, “CAM 025”.

Miyo Hijiriido?! Oh my gosh! This is new, indeed!

Okay, so the characters for Miyo look like this: 聖井戸御代 The first character in “Miyo” is the same one that denotes “go” in goryoushin (formal way to denote “parents”) and similar words in keigo. The characters which aren’t “well” (water well) are the character for “saint/holy” and “age” (as in the period of time, alternatively “generation”), aside from the one I’ve already discussed. Therefore, I’d suggest Miyo is actually “the great detective [who ushers in a new] age” or “the great detective [of the current] age”. Update: Apparently Miyo means “age of a ruler”, as in the period of their reign (specifically referring to the emperor if it needs to be). I’ve heard there’s specific words in the Japanese language used only to refer to the imperial family…this is probably one of them. That specific name combo (as “odai”) is also a very polite way to refer to spare change, although that doesn’t seem very useful to know.

What’s that thing on Tamotsu’s wrist…? (A watch? Wouldn’t that be illegal in a prison like this?)

Interestingly, all other killers wear white. Narihisago is the only one in black (or brown…or whatever colour that is).

What would Miyo need a key for? The key to the mystery, or a physical key?

I don’t think you can see Narihisago’s face in any of the pics he has of Muku or his wife.

Ooh…Sakaido’s pretty ripped. (Me likey…not that I would like a killer…)

Why is Sakaido…or I should say Narihisago…dead in his own imagination, huh?

Hmm…Miyo wears a black singlet or sleeveless top of some sort under that cape...poncho…Holmes cosplay thing. She still has a gun in her detective form, too.

Notably, no detective wears a skirt in this world…*sigh* So much for Nancy Drew and Miss Marple…

Muku has smiley faces on her hair decs.

Does that mean you’ve met the real Muku…? (I think this is Momoki speaking about Muku.) Update: It might be Habutae, actually. I never really got a grasp on the names of the peanut gallery.

Hondomachi’s never seen the cockpit in real life, right?

Well-ception! (It’s a bit of a joke that when there’s something in something, I call it [X]ception as a homage to Inception.)

Table flip! That meme hasn’t been around for a while, come to think of it…

I find it interesting that they point to the circles of the roof when talking about pi. As you know, the circle and pi are related.

Hmm? I don’t remember seing the quote “Let us try to make this world a better place” in this episode…

#simulcast commentary #uchi tama?! uchi no tama shirimasen ka?#uchitama?! have you seen my tama?#keep your hands off eizouken!#Eizouken ni wa Te wo Dasu Na!#Boku no Hero Academia #My Hero Academia #ID: Invaded #mairimashita! iruma kun #Welcome to Demon School! Iruma-kun #Magia Record #Chesarka watches ID: Invaded #Chesarka watches MI-k #Chesarka watches BnHA #Chesarka watches Uchitama #Chesarka watches Magia Record #Chesarka watches Eizouken

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recentanimenews · 5 years

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Bookshelf Briefs 8/6/19

Dr. STONE, Vol. 6 | By Riichiro Inagaki and Boichi | Viz Media – So it turns out that the current non-turned-to-stone population are all descended from Senku’s dad and the rest of the crew of the space shuttle, which is honestly more about Byakuya’s faith in his son to eventually save the day even if it takes hundreds of years. Back in the present, Tsukasa and the followers that he’s amassed are planning to invade the village and destroy what Senku has accomplished, but little do they know that Senku has the power of RIDICULOUS SHONEN SCIENCE on his side. The best thing about this volume is that we’re starting to see the non-Senku cast actually come up with inventions—the water wheel revelation was great, and Senku knows it. Dumb fun, masquerading as smart fun. – Sean Gaffney

Farewell, My Dear Cramer, Vol. 1 | By Naoshi Arakawa | Kodansha Comics (digital only) – Midori Soshizaki and Sumire Suo played girls’ soccer for different teams in middle school, but Soshizaki is so taken with Suo’s play that she volunteers to go to whichever high school Suo chooses. Suo, accustomed to being the only one really trying on her team, feels kinship with another girl on a lousy team, and so she and Soshizaki both end up at Warabi Seinan, whereupon a couple of other talented players show up along with a new coach, since the current one sees no future in girls’ soccer and isn’t interested in doing his job. This was a pleasant start to a series, but the soccer action isn’t as easy to follow as in other titles I’ve read, and it quickly veers away from the two leads to focus on another teammate. I’ll definitely keep reading, though! – Michelle Smith

Love in Focus, Vol. 3 | By Yoko Nogiri | Kodansha Comics – I had forgotten that this was a series that ended in three volumes, but I would have remembered anyway given the rapidity with which Kei and Mako get together and just as quickly break up. “Let’s date first and fall in love later” rarely works in shoujo manga, especially when you’re the blond, who almost always loses out to the brunet. That happens here as well, as dating Kei does help Mako realize her feelings—for Mitsuru. That said, though the plot beats were very predictable, I thought Mako and Mitsuru’s dialogue was sweet and pure in a shoujo sort of way, and I also liked how the “stalker” plot was resolved. As with the author’s previous series, this was decent but not good enough for long-term. – Sean Gaffney

My Hero Academia, Vol. 20 | By Kohei Horikoshi | VIZ Media – I’m sorry to say that I just can’t muster up much interest for Gentle Criminal and La Brava, the villain and his acolyte who get in Midoriya’s way when he’s trying to get back to campus in time for class 1A’s performance at the school festival. Once their fight is finally over, though, it’s time for the feels. The focus on Jiro here is pretty brief, but oh so welcome, and that two-page spread of her smiling so radiantly while performing is incredible. And then, just a few pages later, there’s Mirio who is suddenly moved to tears because Eri, the girl he sacrificed so much to save, is having the time of her life. I love Mirio and Eri together, and I also love Aizawa rushing to be with Todoroki when his dad, now the number-one hero, is injured on live TV. Plus, there’s Hawks! This volume has much goodness. – Michelle Smith

My Hero Academia: Smash!!, Vol. 1 | By Kohei Horikoshi and Hirofumi Neda | VIZ Media – I’m not really a gag manga sort of person, so I didn’t expect much from My Hero Academia: Smash!!. But despite the warning from creator (and Horikoshi assistant) Hirofumi Neda that it was going to be crude, I actually thought it was quite fun! It follows along with the early events of the main story, up until the first attack by the League of Villains. Often, familiar scenes are subverted in some way, like All Might’s “you can be a hero” moment turning into a sales pitch for vitamins, but sometimes they’re expounded upon in genuinely intriguing ways, like showing how Yaoyorozu used her quirk in the fitness tests Aizawa devised. (I also liked that her classmates now prefer Yaoyorozu brand erasers.) Also, I think one panel features a tiny puking Jesus. To my surprise, I’m looking forward to volume two! – Michelle Smith

My Hero Academia: Vigilantes, Vol. 5 | By Hideyuki Furuhashi and Betten Court | Viz Media – This volume definitely felt like the fifth book in a four-book series, a constant danger when something gets really popular. Knuckleduster’s plot is resolved, and so he very pointedly, with one or two exceptions, withdraws from the series. Instead we see Pop Step and the Crawler trying to be vigilantes on their own and rapidly coming to a realization, which is underscored by licensed heroes yelling at them—they’re not powerful enough to do much more than get in the way. That said, I did enjoy seeing Midnight in her “casual” clothes, and the kid singers were very cute. A series that has turned a corner but not yet hit the next long straightaway. – Sean Gaffney

My Next Life As a Villainess: All Routes Lead to Doom!, Vol. 1 | By Satoru Yamaguchi and Nami Hidaka | Seven Seas – The manga adaptation of one of my favorite recent light novels didn’t have to go very far to impress me, just adapt the novel as well as it could. There’s obviously stuff that’s cut to fit (Katarina’s parents’ relationship gets a one-panel explanation), but it handles introducing the main cast well, and cuts the “alternate POV” parts which would have made the manga repetitive. Best of all is the prose short story at the end, seeing Katarina having a nightmare about the villainess her otome game self is supposed to be, and the bad choices that she makes which our Katarina can’t stop her from despite yelling inside her head. Definitely get this if you like the novels. – Sean Gaffney

The Quintessential Quintuplets, Vol. 4 | By Negi Haruba | Kodansha Comics – This is moving at a galloping pace for a romantic comedy, especially one with quintuplet heroines. There’s the bad—Ichika pursuing her dream would mean leaving school, which would mean Futaro losing tutoring money—and there’s the worse—various people getting bad, bad colds due to the weather and circumstance, which leads to a mass search for Itsuki and a bedside vigil for Futaro, whose cold of course turns out to be the worst of all. We also get another flash forward reminding us that he does eventually marry one of them, but continuing to not tell us who. Don’t expect that to be resolved till the final page of the series. For fans of harem comedy/dramas. – Sean Gaffney

Sacrificial Princess and the King of Beasts, Vol. 6 | By Yu Tomofuji | Yen Press – Anubis has finally given in and allowed a trial period for Sariphi to be Queen Consort. Unfortunately, we then see the problems that this causes, which is that the majority of the populace still isn’t ready for a human girl as the Queen. Fortunately, Sariphi is made of pretty stern stuff, and even when she’s down there are folks who can cheer her up. This allows her to resolve the fractured relationship between a mother and daughter, as well as give Amit the courage to give a token to her beloved Jor, even though as a soldier he may not be able to return that love. Honestly, this does continue to remind me a lot of Fruits Basket, but that’s not especially a bad thing. – Sean Gaffney

Skull-face Bookseller Honda-san, Vol. 1 | By Honda | Yen Press – My first exposure to Skull-face Bookseller Honda-san was through its anime adaptation. I’ve not actually watched the show, but I’ve seen enough screencaps of the titular skeleton dramatically reacting to a wide range of customer service exchanges to reasonably expect that I would love the original series. And, after reading the first volume of the manga, I can definitively say that I absolutely do. To a large extent the manga is autobiographical, based on Honda’s experiences as a clerk in the manga department of a large Tokyo bookstore. It provides entertaining insights into the life of a bookseller, showing the challenges presented by customers, publishing schedules, corporate management, and just trying to keep the shelves appropriately stocked. This could be rather dry as a subject, but in Honda’s hands the portrayal of bookselling is delightfully humorous, intense, and over-the-top in a way that is both engaging and still incredibly honest. – Ash Brown

Skull-face Bookseller Honda-san, Vol. 1 | By Honda | Yen Press – I’ve seen the first few episodes of the Skull-face Bookseller Honda-san anime and this is going to be one of those rare occasions where I have to admit that I kind of like the anime more than the manga. Certainly, Honda-sensei depicts the bookstore (specifically its manga department) as a place way more hectic than I ever anticipated, but that frenetic energy (and the kookiness of his often-foreign customers) just translates better to the animated medium, I think. That said, this volume has a lot to recommend it, particularly if you want a glimpse of what Japanese booksellers think of the global readership manga has obtained. Read it, but maybe watch it, too. – Michelle Smith

Waiting for Spring, Vol. 11 | By Anashin | Kodansha Comics – I’d long been wanting more basketball in Waiting for Spring, and I finally got my wish in this volume. The latest tournament has begun, and if the Seiryo boys want to repeal the no-dating rule, they have to win. They make to the finals league, where they’re up against Aya’s team, Hojo, and though Seiryo ends up losing, there’s still hope due to the structure of the tournament. Aya realizes his kind of love expected Mitsuki to never grow or change whereas her love for Asakura inspires her to try new things and set goals for herself, so he seemingly steps aside though he does talk about returning (he’s apparently moving back to American) once she’s grown up. Anyway, this is a cute series that I like a lot and though I don’t expect many surprises from its final two volumes, I nonetheless look forward to reading them. – Michelle Smith

By: Ash Brown

#Anime #News #Manga Bookshelf

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lorrainecparker · 7 years

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ART OF THE CUT with the editor of “War for the Planet of the Apes”

William Hoy, ACE got into the editor’s seat on feature films back in the mid-‘80s. One of his first major feature films was Dances With Wolves. Since then he’s edited a string of box office and critically acclaimed hit films: Star Trek VI: The Undiscovered Country, Patriot Games, Se7en, The Man in the Iron Mask, The Bone Collector, Dawn of the Dead, Fantastic Four, 300, Watchmen, and Dawn of the Planet of the Apes. Art of the Cut caught up with William recently to discuss his work on War for the Planet of the Apes.

HULLFISH: The ape performances were obviously motion capture. What was the workflow for editing?

HOY: The genius of WETA (the visual effects company responsible for the motion capture, animation and VFX rendering) is that they can translate a human face into a simian face. If you see the motion capture performance side by side with the final animation, you’ll absolutely see every nuance that Andy Serkis had. Every little twitch. Every subtle look. The tear falling – they matched the tear falling off – that was CG but that is entirely Andy’s performance. As Matt (director, Matt Reeves) and I go through the picture, we choose the actor’s performance. This picture is different in motion capture from some other ones that I know of because the motion capture on others are shot within a virtual set, so the actors aren’t performing in the real environment. We were actually shooting scenes in the forest. We had all these “witness cams” that capture the action of the apes and then there were also cameras on their faces and they have dots all over their face and they are wearing these sensors on these gray spandex suits that looked like gray pajamas. But we’re on location and Serkis has to walk like an ape. He has to do all of the physicality of an ape. Right before picture started, Terry Notary – who was also in Rise and Dawn as Rocket – he runs Ape school. So any new actors go to this school and he teaches them how to move. They have these crutches so their movements simulate quadrupeding of apes.

All of that goes to WETA who translates their performances. The translation is amazing and it’s only gotten better through each of these pictures from Rise to Dawn. So I would come in in the morning – because WETA is in New Zealand – and I would see these shots that have come in overnight and I would be so moved because you can actually see the emotion in the performances. These apes in the animation had the performance that we originally chose from the actor. When I first started seeing the nuance coming in on this particular film, it was at another level which really was breathtaking. So the performances of our actors is basically what we work with. A huge part of the budget on this picture is visual effects and almost all of it was dedicated to performance. So that’s why I wanted to return to work another one. There is also the collaboration with Matt Reeves. It’s become easier because there’s a bit of shorthand. So I can actually take a performance and slap it on the side of captured performer’s head and Matt can look at it and understand what he’s eventually going to get.

HULLFISH: So beyond that shorthand, do you find any other value to working with the same director/editorial team?

HOY: The big thing is that the director has confidence that you’ve been diligent about choosing the right performance and that you didn’t say, “I cut in the last take because I thought that’s what you were going for.” On the first one it took a while for him to trust me in that way because he’s very very meticulous. We would go through each scene and take, but on this one he accepted some of the takes that I chose without asking to look at them all again. He would say, “Oh yeah. That is the best one. I remember that.” And we could move on and spend time solving bigger problems, which is a real help because the picture was so complicated.

We shot a lot in the Pacific Northwest forest, but we also did shoot on the motion capture stage. So while they were shooting, I’m on location, but I’m actually in my editing room cutting the picture, so to spend time on the set means time away from putting the picture together. When they shot on the motion capture stage – which was very close to where the cutting rooms were – it gave me an opportunity to go down there and see how things are shaping up to see if I have something to add that early on because a lot of times those scenes haven’t been put together.

On this particular picture we held out three weeks of motion capture to be shot later because we knew we wanted to visualize some scenes first and see how everything fits in. And we knew we would want to tweak things so there were certain scenes that weren’t entirely shot in the first pass. So we waited until the picture was together and then we shot motion capture here in L.A. and I was on the set for that. We actually had our Avids out on the motion capture stage. So we could see that we need characters to run quicker or a certain character needs to enter here or for a certain performance because we need these interconnecting pieces. There’s also scenes that we had to reimagine in the cutting room, Matt and I. And so those are the scenes that we talked out extensively.

For example, “what if we just had Caesar come down the mountain here and he slid?” Because I have this amazing wide shot and wouldn’t it be nice if he slid down the mountain and caused this slight avalanche, which is kind of a precursor to what comes later? So we captured Andy doing this action on the stage. Without that, it might come out of the blue. If we had that happen, we know that the snow was unstable so WETA put in a little break in the snow.

HULLFISH: So you actually started by cutting using the motion capture footage?

HOY: Absolutely so. I start editing the picture as soon as they finish shooting a scene with our human and motion capture actors and began crafting that scene into what I hope it ultimately would be. But in the meantime we need to begin to turn some of these visual effects over because they just take so long. And you can’t jam up WETA’s pipeline all at once: say, “OK, we’re done with the locked picture. Here are 1,400 shots.” It’s not going to happen. So we segment out with a schedule of what WETA can handle and what scenes are first. Then we would focus our attention on those scenes. We had the luxury of actually putting the picture together on this one and we could turn it over as soon as soon as Matt saw the picture, which was two weeks after we came back from location. So right after that, there were some scenes that he was happy with already, so we could send those out.

I should add to that I was on location on my own and put most of the picture together then Stan Salfas, who also worked on the last one, came onboard in Los Angeles a few weeks before we came back from location. Because the picture was so demanding – as far as time is concerned – I’d come in the morning and look at shots and then Matt would come in, we’d look at them together, discuss the progress of each shot and then we’d work on scenes together. Matt broke for dinner at about 7:00 or 8:00 and I’d continue to complete my work for the day. He would work with Stan until midnight. He’s the hardest working guy on the picture.

You’re right as far as: how do you visualize some of these performances? When they’re rendered, the performances begin to transform. We have complete faith in WETA, but you never know exactly what you’re going to get, so we have a tendency to leave things just a little long if we can – just a few frames, but when there is an action match or something like that there’s nothing you can do. We just go on the faith that we picked the right frame.

As the picture evolves, and you begin to see some of these rendered apes in their final form, we found that we could drop some of the music, because we didn’t need that music to tell us how to feel about the apes at this point in the story. When we’re at a more primitive state, technically, we had a tendency to load the picture up with temp music. But when we came to the final mix, we started stripping out music and just letting these characters play, because they’re so real and they give you everything you would want from an actor. You just look in their eyes and say, “Oh My God! I get it!” We don’t need all this dressing. As a matter of fact, sometimes the music made it too melodramatic. Sometimes it telegraphed an idea. So we were kind of showing our hand before the climax or the point of the scene.

We put this together with motion capture characters and then we have to screen it. So I look at it with Matt and he says, “Yeah that’s working pretty good.” But how do we represent this in a screening? The characters are looking the wrong way or we had elements of a scene that did not exist at that point. We had VFX editors who would actually cut heads out and put it in where needed. We know that ultimately WETA is going to make that seamless. But, how do you show that to the studio? How do you show that to an audience and get the emotional reaction that you want? So there’s another step which doesn’t lead to the final step, but it’s a side step that we need to take because none of this will end up in the final, it’s just for screening. Our VFX producer, Ryan Stafford, knew this from working on Rise and Dawn. He knew to have a whole crew of post-viz artists, so they could depict these in more detail.

We had what we call “ape puppets” – something to represent a character be it Caesar if he’s riding a horse – we were able to put this ape puppet on there and put “Caesar” on his chest, and have him riding on the horse. Ultimately we know that’s going to be a photo-real Caesar riding on that horse. But these are the interim steps we have to take to show it to someone before we start getting the shots back from WETA.

WETA delivers different iterations of the animation. The first is what’s called blocking. So, they’re WETA’s puppets in the position with the right movement and then we can see if one shots matching into another as far as movement is concerned. And then they go into animation, where they start doing the facial features and the actual emotions of the character. And all through this process we sit and and talk to WETA for hours at a time each day. Matt’s sitting there. He’s talking to them about the details of a shot and what he wants out of Andy’s performance and almost all of the time Matt is referring back to Andy’s actual performance, like, “He’s just sadder in this shot. He just has this very subtle sadness in his eyes.” Somehow we have to capture that. So then WETA goes in and put just a little glazing on his eyes, like he’s been tearing up, or he’s about to, details like that. Matt wanted to preserve the performances of our actors who were pretty phenomenal.

HULLFISH: I’ve talked to several editors who said that they were able to cut lines from the script once they saw the performance of the actor. The actor can tell you something in a look or an expression that makes the scripted line superfluous. Were you finding the same thing when you were getting back these expressive WETA ape shots?

HOY: Yes. And that goes for the music and goes with entire scenes. With this movie, there’s not a lot of dialogue going on. The ape and the humans are connecting by just looking, and so we’re relying heavily on CGI characters. It’s a pretty amazing thing. We go through the picture and say, “Are we being redundant saying this again and again? We’ve mentioned it three times.” There’s that rule that if you repeat it three times, the audience will get it, but there are times you need to break that rule, because otherwise it can feel like, “He was really heavy-handed in this. I get it. I get what he’s going for.”

We have a scene where our main characters are saying goodbye to each other, but we found that at that moment it was slowing down the action. Not only that it, but it becomes redundant because that happens again later. It was one of my favorite moments by the two actors, but it was really slowing us down. So then you lose that. But you only know that once you see the picture as a whole. When you read the script you say, “Oh yeah. We need that because those two characters are the bedrock of this whole franchise.” But then you say, “No, we don’t. Because at this moment we don’t care about this. This is what’s going on at this moment, so we want to get past this. What is the important thing here? It’s Caesar’s quest at that moment.” And so we want to simplify it and refine it to that point where we modified the scene. So yes: we did lose lines for sure… entire scenes.

I agree about what you said earlier: that if you have great actors, they can say so much with just their face – with just that performance. That’s what can eliminate an entire scene. If you cut from his reaction and his reaction then tells you what the next scene was going to be about. When you read the script you think, “Oh my God. We need to see our hero get angry and then go on the road.” OK. But I have it in this close up. I have it and I can just cut this entire scene right out of the movie. What I’m left with, if I cut him at the right moment, he’s fuming he’s holding his son and he’s worried for the fate of his people.

Andy Serkis on the set of Twentieth Century Fox’s “War for the Planet of the Apes.”

And that’s what the next scene was about. But he already said it – not in so many words: I’m worried for the fate of my people but I have to go and do this. But he says it all with his face and you understand that when we come to the next scene and you see what he’s doing you realize, “I don’t need that scene to tell us this.” With a script you want things laid out for you sometimes. I think the written word is different than film obviously because you get so much out as you’re watching. You’re forming all these ideas and it points to one direction. I think as an audience we are very impatient to get moving. There’s a tendency to try to repeat things to make sure the audience gets it… but yeah, I got it… move on.

HULLFISH: Exactly. You’ve worked on a lot of action and VFX pictures, but the only way to get these pictures to work is through the performances and the emotion, and caring about character, right?

HOY: You know we have a tendency as editors to get typecast in a certain way. I’m proud that I’ve done a bunch of FX or action movies. But there’s something that lies underneath that which is performance and character and emotion and story. And the best battle scenes in any movie and hopefully ones I’ve worked on – is character, and if you don’t care about the characters then your battle scene becomes just noise and action. But if you care about your character and you have taken the time to build that, then you really care about what’s going on and you can cut to one look from our hero or the villain and you know exactly what’s going on and you’re invested in these characters. You have to build that into your editing somehow. I’ve been asked, “So, what is your editing style?” I don’t really have an editing style but I’m hoping my style or whatever I do is what the picture is in need of. And hopefully that comes out of intuition and that comes out of trying to get the best out of the story and the characters.

I’ll watch a movie and it can be very simply shot – wide shots… close ups. But if the story and the characters are involving. I’m just drawn into this for an hour and a half. Story absolutely is the most important thing. I can’t remember a movie I’ve seen where I thought, “The story was terrible, but I loved it because Wow what a spectacle!”

HULLFISH: But building that concern for a character has to be so hard when you’re dealing with characters you don’t really even get to see until later.

HOY: I go by faith that whatever I’m envisioning – that that’s going to be part of what’s going to end up on the screen. So I’ll look at a shot and there will be nothing in there…

HULLFISH: Like a plate.

HOY: Like a plate. It’s just a shot moving across the mountains and at some point there are going to be some apes on horseback going across there … or we’re looking at a green screen. We’re looking at two actors and they’re saying goodbye and behind them there’s this enormous army. So I look at them and think, “Well, how long do I stay on this? Is it a transitional moment? Is it an establishing moment? Is there emotional value? How long do I stay on the shot? With the plate shot of the apes traveling: look where they are in the wilderness. Where have they gotten themselves into now?

The other thing is emotional. It’s an army leaving and these two characters are framed in front of a huge army that’s waiting for them – probably to go to their death – so you want to stay on that longer and just let that play out and your eyes can do the searching for you. So in those two instances, that would be the idea of pacing. The pacing has to do with the dialogue and dialogue scenes – regardless of whether you have heavy visual effects – that pacing is based on what type of a scene it is. Do I want to sit there and watch their eyes and just be really absorbed with these characters? Because if I cut away, it’s going to ruin that moment. It’s going to be artificial. But if I just stay on that, that’s amazing. I don’t need to cut. This is where the moment is, right here.

In a battle scene, there’s a rise and fall to it. You’re pacing it and then you get to the height of the battle. How far can you go? The sound is now maximum. The music is maximum. The pace is cutcutcutcutcut. Where do you go? I like to go to the character. What’s he seeing? How’s he feeling about this? So when the opportunity presents itself, there have to be these moments where, “Oh my God! There’s something else happening in this battle or something’s happening in this character’s head. Something is happening other than just shooting people, dying, suffering or characters witnessing it. So how does that play out? Do I play that out in his head? Do I play that out in silence?

I have to find another way to transcend that moment which is: I think I’m reaching the climax but NO, NOW I’m into somebody’s head. Those are the kind of things that, as far as pacing is concerned, it fascinates me, because I actually love those little moments where you can you can insert something that is unexpected where you think, “What? Where are we now? Wow! I didn’t think I was going to feel this during this battle scene.” So those are some instances, as far as pacing, but when you see the picture as a whole you think, “OK, we have to tighten this area because I really don’t want to get bogged down here. What’s happening here is really oppressive, but we don’t want the picture to slip into oppressiveness. We want our hero to go through the pain and suffering, but we don’t want to dwell there for a long time because for an audience: “I get it. He’s suffering. Can we move on now?”

HULLFISH: I would think that it’s hard to screen some of these scenes with so many VFX and temp motion-captures as “stand ins.”

HOY: Sometimes you get art work: “Your king is leading an army and there is this army behind them and it’s an open field.” You want to make sure that you sit on that long enough so that you absorb it all. In that case, I stayed on it so that I would have our characters do most of the action in this wide shot and then much later go in to a close-up or more coverage. In other situations, maybe I wouldn’t if the visuals didn’t support the emotion of the scene. If there’s nothing more to get from the wide shot, let’s go in to a close-up and get the emotions there. But if, with the wide shot, you did get the emotion, because it was a spectacle, then you’re fine. Here are these two characters who are reduced to less significant things in this vast landscape.

You want to be able to make use of all of the tools that you have at hand, so let’s maximize this because soon enough I’m going to be in on a close-up.

There are certain steps along the way before you actually commit yourself to X amount of thousands of dollars for a shot There are shots where things are moving and you have to imagine: “How long does it take for the arrows to travel until they get there?” After a while you can come pretty close to a few frames of guessing those timings.

I co-edited with Neil Travis and back in the film days and he would measure out a piece of film from his nose to arm’s length and with a wink say to me, “That’s the length of a reaction.” Roughly two and half seconds. So that’s one guideline to how long a shot might play.

Every frame costs thousands of dollars. On Dawn an ape shot was $60,000 a shot. (More for shot length over 5 seconds.) I think it’s slightly less on this one just because of the way it was budgeted and they figured out how to do it for less, but that’s really expensive. And we have over fourteen hundred ape shots.

I worked with young editors and assistant editors and I tell them, “You’re paid to have an opinion.” You’re not paid to be a pair of hands. Go in there saying, “This is what I think it should be.” They want that opinion. Hopefully I bring things to the movie that the director may not have thought about. What I like to do is tell the director after principal photography, “Please take a break for 10 days, two weeks and come back and I’ll show you the movie. I’ll try to put as much music as I have time for and sound effects and I’ll show it to you and you sit here and watch it with some objectivity and then decide what do we do with the picture as a whole.”

With most directors, I’m on location. I’m showing them scenes as I go, so they know the performances are being captured the way they want. So when they see the picture as a whole, then we can talk about any differences of opinion. The director may say, “I intended to start the scene with this shot instead of this one.” We can work that out and we can talk about why. Ultimately, we can cut it the way he originally visualized, but there have been times where they say, “I actually like what you did before. Let’s go back to that.” That’s having a point of view and an Avid and being able to save all those versions. It’s a real plus, because on film, when you re-cut, those original choices disappear. The director needs to have a vision for the movie as a whole, and so I try to help bring that vision to the screen. If I have a difference of opinion, it’s only because I want what’s best for the picture. And as long as the director knows that, they’re OK with it. It’s not because I like it that way. It’s not because I cut it that way. It’s because that’s what’s best for the picture.

HULLFISH: It’s nice to have trust in a person, but if you both trust that what you both really want is for the good of the picture, you’ve got a solid foundation for solving any disagreement. How do you have your assistants set up your bins?

HOY: Basically in the same alphabetical order they shot the setups, so I know where the shots will be. I like to have my bins set up in Frame view. My assistant will also choose a representative frame for each shot that best represents that shot, so when I just look at the clip, I see, “ That’s the wide shot and there’s the close up, and there’s the over the shoulder.”

Also the director will choose select takes and the assistants will put a checkmark beside that take. We print everything. (meaning non-selected or B-neg shots are in the bin just like any other shot)

I watch all the dailies straight through and then I’ll go back to the daily bin. I put markers on moments that I think might be the foundation of the scene. The assistants put them in the bin in a straight line, and if I like one more than the others, I just nudge it up a little higher in the row. We also have assistants building selects reels, where every setup and take of a specific line plays back to back. So if I wanted use another performance or to replace a word I can go in there and see if it’s clearer somewhere else.

But that’s only in the refining process that I use the select reels. There are times when there are certain moments that will be the backbone of the scene. There are some moments that you say, “I somehow have to have this moment in here and action-match doesn’t matter. I need to get to this moment.” So I approach the scene – what I call “from the inside out.” I don’t start at the beginning and move through, instead I’ve got to get to this moment so I’ll start putting it together knowing that the scene is going to progress so that I can reach that moment.

Then I can start thinking about the rhythm of what that scene might be. There might be two of those moments – and I’m basing it on performance. Obviously when it’s an action piece: What is the best piece of action that got him from point A to Point B? What shows him doing this best? What shot do I have of the sword going through. What’s the best and quickest shot that I can use that to depict this particular moment. Those things are what you discover when you begin to put an action piece together. Then I start putting just the dialogue tracks and the picture together. And when I feel that scene is ready for some sound effects or some temp music I’ll start laying some of that in. At which point, if the director’s around and I think it’s ready to show him, then I’ll show it. Sometimes he may want to see a scene really quickly because of some concerns he may have about it and I’ll have to show it before I feel it’s ready, but I am loathe to show a director something that is not really polished, because it’s not fair to me. It’s not fair to the director either, because they’re very self-aware. They don’t want to come in and look at something and think, “Oh my God! That’s not working! Is it me? … Or is it you?” Right? So you don’t want to do that. You want to have it to that point where you can analyze: How are the characters working? How’s is the story working? How’s this scene working?

So once I start putting scenes together then other scenes will begin to come in, but now I get to see how he starts the next scene. So, I might have to go back and rework the scene that I had leading into this scene because the transition doesn’t work. You have to keep in mind what the transitions are going to be into the next scene and that’s an ever-evolving thing, because if you eventually lose that scene, now you’ll need to make a different transition to the next scene coming in. So that’s an ongoing thing.

As we go through I’m trying to imagine – based on the script – what the next scene is going to be and how he might approach that. And at some point you will have something resembling the movie which is always amazing and surprising to me.

HULLFISH: So at the point you have the entire movie together, do you find it useful to watch that as a whole from beginning to end? Because in the 100 interviews I’ve done, there is not complete agreement. There are some who feel they want to hold off on viewing the whole movie, because it affects their ability to remain objective about the story as a whole.

HOY: I certainly agree that objectivity is your best ally and that we lose objectivity because we’re into the minutia and it’s hard to maintain that objectivity. My first impression is when the picture is finally put together and I have a chance to sit there and watch it with the director, because, up until that moment, I probably have not watched the picture entirely myself because I just haven’t had the time to. I’ve certainly watch a better part of it but I don’t know how the picture is progressing, so to watch the movie and to have that impression … I try to hold on to some of those first impressions that I have so that it continues to inform me later on. I can see what those other editors are talking about, but for me, and any director I’ve worked with, I’ve never experienced that.

The other important thing with these big VFX movies is that we have to begin to turnover our visual effects. How do we know what we actually need from the visual effects if I haven’t seen the picture in total? That could cost a lot of money down the line, because we could discover that we can or must cut entire scenes of visual effects. And for pictures where the budgets are so huge, it adds up real quick. So discovering that you can delete an entire scene can save a lot of money.

I’ve mixed this film in my Avid for all the screenings. We got 5.1 surround tracks from our sound design team. The temp music editor, Paul Apelgren is part of composer Michael Giacchino’s team.

I’ve actually mixed the picture eight times. For the studio alone, we screened it probably four times, five times easily. There was one time where I was rushing to get the picture finished for the screening the next day and after the screening, Matt asked me what I thought and I said, “I didn’t think anything, because I didn’t get anything out of that screening, because I was so worried about technical stuff.” Sometimes the objectivity comes in for me by just removing myself from that normal seat or that usual theater. So we took it from a theater which was right downstairs from our editing room and went to the huge Zanuck theater on the Fox lot. It was just the director and the two editors sitting and watching the movie, and because I already knew the picture was in sync – that it was supposed to play the way it was supposed to play – that I could actually sit and watch the movie and see it as objectively as I could. Sometimes when I’m screening for an audience I’m so worried that some critical thing is going to happen and spoil the screening and all the work we’ve put in just to get to this moment will be ruined – that’s always in the back of my mind. Once I know the screener is OK, I can actually become an audience member again so that really helps.

HULLFISH: The other thing is just getting away from the editing controls, right? Just the fact that you can’t hit pause and fix something completely changes the experience of watching the movie.

HOY: It completely does. In my cutting room I have my Avid set up with a 43 inch plasma on my right. So for the most part that’s where I watch it. But I also have a 65 inch to the side with it’s own dedicated sound system. So you hit a button and I play it over there. So just by me turning around and not being able to get close to my mixing board and the volume controls and not be distracted by the Avid screens and just dedicating myself to the picture as a whole, that gives me some objectivity. It’s just a matter of changing seats – getting out of my Aeron chair into a couch just feels different right there.

HULLFISH: Can you remember any of the things that you temped with?

HOY: Paul Apelgren the music editor, he was also on Dawn and I’d stayed in touch with him, so when I came back to LA to edit, he asked, “So what music have you been listening to?” When I’m editing I like playing music in the background even though I’m not cutting to it. I said, “It’s a funny thing. I’ve been listening to a lot Ennio Morricone especially his spaghetti westerns and I’ve been listening to Nick Cave, so I don’t know how that works.” And he says, “That’s an Interesting mashup between Morricone and Nick Cave.” It’s a funny thing because as Caesar takes off on this quest it becomes this epic Western. There is a hint of that in certain places which I hope that I brought some of that to it, but I also talked to the director and tell him, “I’ve been listening to this and this.” and he says, “Yeah. I can see that.” Paul also temped with a lot of the music from the Dawn movie, so there was a lot of Michael Giacchino’s music in there, but we also used different composers, like (Alexandre) Desplat. Paul found a wonderful cue from Snow Falling on Cedars.

Sometimes I like to temp the whole picture, but this picture really needed my attention elsewhere, so honestly, I trust Paul. He did an amazing job on the temp score, so I only chose maybe five or six cues. One of the cues I cut in is where Caesar is walking in what we call the trench. After the first battle he’s seeing the devastation on his apes. So I put this piece in there from some Junkie XL who did Allegiance and Divergence. I played it for Matt and he says, “This is a great piece, who’s this from?” And I say, “Junkie XL.” He said, “No!” But that piece stayed in there for the longest time.

HULLFISH: Can you tell me anything about these two scenes from the movie?

HOY: What I find interesting is what both scenes have in common – the lighting. In the scene with Bad Ape, Maurice and Nova it’s lit with flashlights. The performances that were chosen have a natural light to the little girl and our motion capture actors which WETA then had to replicate how the light would interact on Maurice and Bad Ape’s fur and clothing.

In the scene between Caesar and the Colonel (Woody Harrelson) there is a searchlight moving behind the Colonel in the background. Only the light hitting our actors was evident in the raw footage, there was no background. When we began to have discussions about the background we had to determine a believable motion of the searchlights because the interactive lighting was visible on the Colonel’s shaved head and Caesar.

Also in these two scenes if you were to watch the raw motion capture version and the finished scene you will see the amazing performances of our actors.

HULLFISH: Thanks so much for talking with me today. I really enjoyed our conversation.

HOY: Me too. Good to talk with you. We need to meet some day.

This interview was transcribed using Speedscriber.

To read more interviews in the Art of the Cut series, check out THIS LINK and follow me on Twitter @stevehullfish

The first 50 Art of the Cut interviews have been curated into a book, “Art of the Cut: Conversations with Film and TV editors.” The book is not merely a collection of interviews, but was edited into topics that read like a massive, virtual roundtable discussion of some of the most important topics to editors everywhere: storytelling, pacing, rhythm, collaboration with directors, approach to a scene and more. Oscar nominee, Dody Dorn, ACE, said of the book: “Congratulations on putting together such a wonderful book. I can see why so many editors enjoy talking with you. The depth and insightfulness of your questions makes the answers so much more interesting than the garden variety interview. It is truly a wonderful resource for anyone who is in love with or fascinated by the alchemy of editing.” MPEG’s Cinemontage magazine said of the book: “In his new book, Art of the Cut: Conversations with Film and TV Editors, he gathers together interviews with more than 50 working editors to create a mosaic of advice that will interest both veterans and newcomers to the field. It will be especially valuable for those who aspire to join what Hullfish calls, “the brotherhood and sisterhood of editors.”

Check out the editing on some other big-budget features like Pirates of the Caribbean 5, Transformers: TLK, Guardians of the Galaxy and Wonder Woman

Or if you prefer, some documentaries: OJ: Made in America, or a lower-budget indie: Colossal.

The post ART OF THE CUT with the editor of “War for the Planet of the Apes” appeared first on ProVideo Coalition.

First Found At: ART OF THE CUT with the editor of “War for the Planet of the Apes”

#viddy find

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makeste · 5 years

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BnHA Chapter 216: You’re a Good Man, Shinsou Hitoshi

Previously on BnHA: Deku calmed his emotions and activated Blackwhip a second time, this time On Purpose, and for a moment it looked like he was going to completely curb stomp poor Shinsou. But then he crumpled in pain and the quirk vanished, and he realized he wasn’t physically strong enough to use that quirk just yet. So instead he chased after Shinsou using good ol’ full cowl. Meanwhile Ochako captured Monoma, who taunted her about having one last ace up his sleeve. This turned out to be a Twin Impact shot he’d been saving to hit Deku with, and it worked pretty nicely, but unfortunately our boy Shinsou didn’t have enough experience yet to take full advantage of the resulting opening. Meanwhile Ochako went to bail out Mina and Mineta and took out not one but two more opponents singlehandedly like the fucking ninja she is. Mina took out the third with a raging uppercut, leaving Deku to wrangle Shinsou, thus securing 1-A’s total victory. Now all that remains to be seen is what kind of excuse Deku will come up with for his sudden new quirk, and whether or not Shinsou will be accepted into the hero course. We’re all rooting for you, kid.

Today on BnHA: The 5th set wraps up with a 4-0 victory for Team A, which also gives class A the overall victory over class B, having won 3 of the 5 matches. As 1-A celebrates, Shinsou broods. He was able to piece together that the exercise was a test for his potential transfer, but he feels like he didn’t accomplish enough. The teachers gather the two teams for the post-game analysis and are all “what the fuck, Midoriya.” Deku is all “I don’t know either,” and for some reason everyone just buys that and moves on with their lives. Deku credits Ochako and Shinsou with helping to save him, but Shinsou says he just did it to stop his team from losing. Aizawa chokes some sense into him and says that just because he’s not a perfect 100% self-sacrificing martyr all the time doesn’t mean he’s not worthy of being a hero. Everyone else chimes in and says that Shinsou did really good, and Vlad says that although they still need to make it official, it’s more than likely that Shinsou will be joining the hero course next year. Having settled all that, Aizawa asks Monoma if he can do him a favor and come with him to see Eri the next day.

(As always, all comments not marked with an ETA are my mostly-unspoiled reactions from my first readthrough of this chapter. I’m caught up with the manga now at chapter 225, so any ETAs will reflect that.)

so we’re opening with Shinsou’s perspective on those last few moments against Deku

wow

you’re telling me Izuku was spinning around over and over again in mid-air? he wasn’t just twisting the binding cloth around?? he himself was literally twirling at high speed? that’s what this panel was depicting?? the author of this series is drunk

ahhhhhh my poor exhausted lavender son

welcome to shounen manga, friend. we only go forwards not back

ahhhhh fff dammit Shinsou

YOU BETTER NOT START CRYING OR I’M GONNA LOSE IT

and now we’re belatedly getting the hero names of the four class B kids waaaaaay after the fact

Emily??

(ETA: Exorcism of Emily Rose?? that’s what Viz’s translator speculated, anyway. idk I don’t watch horror movies so I don’t know what else it could be.)

I like the name “Mines” for Shouda though! his quirk kinda is like a landmine I guess. also this poor kid has seen better days Mina what did you do to him

anyways so poor Vlad is being forced to announce class 1-A’s perfect 4-0 victory for the second time in a row

haha check out Mina’s kung fu pose

and Ochako’s peace sign. MVPs. I stan some motherfucking legends here I tell you what

oh lol it was Midnight that was doing the commentary since Vlad went with Aizawa and All Might

I’m glad the kids’ petitioning paid off

so in the end class 1-A once again proved themselves against the unfortunate class 1-B who had all of the cool quirks but none of the luck

Midnight’s making the official announcement and everyone is cheering!

poor class B

it’s not your fault, Manga. at least your team actually won, mainly thanks to you

ahhhh we’re cutting back to Shinsou and his face is hidden and he’s tugging at his scarf and hesitantly addressing Vlad and Aizawa

SHINSOU STOP IT

SOMEONE GIVE HIM A HUG!! AND STOP LEAVING HIM IN SUSPENSE!!!

he says this was also supposed to be his transfer exam. so he knew??

lol Vlad is asking Aizawa if he told him, but Shinsou says he basically just put two and two together even though he wasn’t 100% sure

“not to mention, I was the only one who participated in two matches” yeah that was certainly a big clue

lmao Vlad looks so impressed

just how low are your standards dude

and now Aizawa is changing the topic and says it’s time for the teachers’ critiques! OH BOY THIS OUGHTA BE GOOD

Deku’s critique basically should just consist of “what the actual fuck Midoriya”

and like I said in the previous recap, Shinsou should get credit for his performance in the first battle as well as his save in this battle which showed he has the true spirit of a hero!

LOOOOOOOOOOOL

I WANT TO SHAKE HORIKOSHI’S GODDAMN HAND

so Aizawa’s asking what the principle is behind Deku’s new move since it’s so radically different from his established “super strength” quirk

and Deku’s just standing there nervously

Tokoyami and Kuroiro are bonding over their mutual admiration of how goth the new quirk is

hmmmm how you wanna play this Deku

so basically just be all “fuck if I know, this quirk only manifested for the first time eight months ago and it keeps surprising me with weird new shit. petition to rename it ‘mystery quirk’”

sidestepping the question like a pro there Deku

so he says his power suddenly started overflowing and he couldn’t suppress it and it scared him, but that thanks to Shinsou and Ochako’s help it turned out all right

he says that if Shinsou hadn’t knocked him out he’s not sure what would have happened

and he’s turning to Shinsou now and explaining that he wasn’t bluffing earlier, and he’s thanking him

what the fuck Shinsou

were you?? fooled me then

YESSSSSSSS GIVE OCHAKO HER PROPS

SHE WAS A FUCKING BADASS. NOW TALK ABOUT THE PART WHERE SHE’S RESPONSIBLE FOR CAPTURING 3 OF THE 5 ENEMY TEAM MEMBERS

noooo goddammit Mina not now!!

MINA ARE YOU JEALOUS NO ONE HAS GIVEN YOU CREDIT YET. WE WERE GETTING TO THAT, BE PATIENT

oh sheesh lmao

and now she’s nervously twiddling her fingers and smiling hesitantly and saying she’d rather do that than not do anything and regret it later

oh my gosh

SO PROUD OF MY LITTLE BABY GIRL. YES!!

and holy shit but I want to take that picture of him smiling almost imperceptibly and fucking frame it

look at Ochako managing to completely deflect the attention away from Deku somehow. not only was she the MVP of the battle, but she just keeps saving his ass even afterward

holy shit

DEKU’S FACE ALSO BEING BEET RED THOUGH. HE MUST LOOK LIKE A GODDAMN RADISH

anyway, so Shinsou says he just did what Ochako asked him to do

yeah, but you did it despite them being on the opposing team though!

exactly. you knew it was the right course of action and you didn’t hesitate

SHINSOU STOP MAKING THESE SAD FACES!!!

FOR FUCK’S SAKE I CAN’T TAKE THIS??

AIZAWA OH MY GOD YES

PLEASE REASSURE YOUR DEPRESSED PURPLE SON AND TELL HIM THAT HE DIDN’T DO ANYTHING WRONG AND HE’S A GOOD HERO

sdlfhaslkdfj

holy --

lmao at Kaminari immediately breaking into a chant. methinks the mangaka is too self-aware

and well then, since Best Dad Aizawa Shouta has officially entered the ranks of parents who occasionally discipline their children via shocking comedic violence (consider also: All Might decking Deku at the beach a mere chapter before Mitsuki’s infamous introduction), maybe we can finally put that debate to rest. I think it’s pretty clear when Horikoshi is intentionally portraying abuse and when he’s just being over the top because this is a fictional story in a fictional world where not three pages ago there was a character with a literal comic book for a head

oh snap Aizawa

in other words, it’s okay to be a little selfish. sometimes selfish is even needed. because he’s absolutely right, if you don’t take care of yourself as well you’ll fuck yourself over before long and then you won’t be able to save anyone

and also, at the end of the day, if you save everyone successfully and complete the mission, does it really make sense to stand around and argue whether or not your intentions were pure enough?

anyways needless to say I’m really digging this “nobody’s perfect” speech right here you guys

(ETA: oh hey it’s Aizawa’s Mysterious Cloudy Friend, Shirakumo! probably. hey Shirakumo. what’s your fucking deal goddammit)

this is basically Aizawa’s version of All Might’s speech from chapter 120. I always love when the series metas about what it means to be a hero and what separates the great ones from everyone else. and we saw firsthand in Bakugou’s match just a few chapters ago the difference it makes when a hero is focused on both winning and rescuing

now Deku is complimenting Shinsou on all of his strategic moves like dropping those pipes down on him and trying to lead him back to where everyone else was to regain his advantage

oh my god you guys Deku is so passionate and generous with his praise, this is exactly the kind of thing Shinsou needed to hear though

kinda getting that “a true hero doesn’t just save people, they save people’s hearts” vibe thing here on top of everything else

oh my god Deku

what the fuck are you talking about, if anything you lean into this too much and you need to relax a little and take some of Aizawa’s advice to heart

ahhhhhhhhHHHHHH

YESSSSSSSSSSS THIS IS WHAT I’VE BEEN WAITING FOR. YOU DID IT SHINSOU I’M SO PROUD OF YOU

oh my god. the one hand clutching his scarf and the other one in a clenched fist. and that face. oh shit here come the feels

and I desperately need to know if this means next year as in January/next term, or next year as in when they move on to year 2

(ETA: Viz’s translation indicates it’ll happen in their second year of school.)

OH FOR FUCK’S SAKE

GODDAMMIT HORIKOSHI I WAS SO LOOKING FORWARD TO THIS CHAPTER TO FIND OUT, AND THEN YOU GO AND PULL THIS SHIT. UNBELIEVABLE

(ETA: I love that both classes so clearly want him though. again, they’ve all collectively adopted him and I love it

also, class 1-A still has a traitor in their midst, so depending on when and how that all goes down, they may just end up having a vacancy, just saying...)

oh my god

Mina this is why I want you to run for President. and Aizawa, she absolutely is right and he should be punished

loooool Monoma is trying!

hang in there buddy

so getting back to that, I’m guessing what happened there was that he did take One for All the quirk, but not any of the stockpiled power within Izuku? because to get that it has to be willed to you by the previous owner. so basically he was trying to activate it, and it probably was working, but his version of the quirk was at OFA Prime levels. basically starting from scratch with no additional power stored up other than his own. and we all agree this is actually very fortunate for him and he’d be getting carted off to Recovery Girl right now if things had gone differently

does that not bother him, by the way? like, Ochako just figured he was “bluffing”, but Monoma knows he was actually trying to activate the quirk and nothing was happening. I wonder what he made of that. it seems like maybe he’s too caught up in the loss to class A to really think much on it just yet

(ETA: so apparently he knows enough about how his quirk works to have already figured this out, lol.)

whoa oh shit and I just read the last three panels and a ton of interesting stuff happened so quickly lol

okay let’s break this down and then we’ll end the recap

(1) Deku is so fucking pure. middle of a battle and being attacked, and his only concern is that the quirk is gonna be too much for Monoma and badly injure him

(ETA: and can I just say, the other students could have used a little more of that concern though. the teachers too for that matter.)

(2) so I take this to mean Horikoshi is going to explain what happened, but for now I’m assuming my speculation is more or less near the mark. he definitely did take OFA because you could see the telltale red flashing pulsing shit happening with his skin. so it has nothing to do with Deku originally being quirkless; it’s the way that OFA as a quirk works

(3) Deku is super fucking lucky that no one started questioning what happened with his quirk again, what with Monoma bringing the subject back up

and lastly, (4) OH SHIT. is he gonna have Monoma copy Eri’s quirk to see if he can control it? lol we only just established how lucky he is to be alive after taking Deku’s quirk. what are you trying to do to this poor kid

though I am glad to see Aizawa being a logical dad who cares about his baby girl and is constantly thinking of ways in which to possibly help her out. ah well, hope nothing goes wrong there

and that’s it! on to the next chapter to hopefully see Bakugou and All Might grill Deku about WHAT THE FUCK JUST HAPPENED lol

#bnha #boku no hero academia #shinsou hitoshi #aizawa shouta #midoriya izuku #uraraka ochako #monoma neito #bnha spoilers #mha spoilers #makeste reads bnha #rereading this chapter I want the deleted scene where aizawa gives mina her props also #and tears mineta a new one as requested #we're also missing a scene here where aizawa tries to question deku again in private #only for all might to swoop in and say he'll handle it #so at what point can we safely assume that aizawa officially knows something is up #he's gotten enough clues by now wouldn't you say #at the very least he knows weird stuff is going on with deku's quirk #and all might has taken a special interest in him #now that deku's manifested a second quirk though it ironically makes people less likely to make the connection between him and all might #but it *does* make them more likely to connect the dots between him and all for one though #anyways I hope we're not just dropping this because I would like to see aizawa get filled in eventually #weird stuff is happening with his problem child and he deserves to know goddammit

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recentanimenews · 5 years

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Bookshelf Briefs 2/26/19

Beauty and the Beast Girl | By Neji | Seven Seas – This seems to be complete in one volume, and despite a lot of backstory angst edges on the side of sweet. A monster girl living in the woods meets a blind girl (literally, her last name is Blind, but she is also blind) and starts to tell her stories in an effort to hide why she’s living alone in the forest. Naturally, their backstories merge together. Also naturally, they fall for each other hard and must therefore deal with the other humans who are horrified that Lily would be with a monster. It all works out in the end, though, as true love can defeat all. This is one of a number of “cute but slight” yuri titles we’ve seen here recently, and while it’s not the most subtle manga in the world, I’d say it’s worth a read. – Sean Gaffney

Black Clover, Vol. 14 | By Yuki Tabata | Viz Media – More tournament arc. Asta’s fight is fairly typical, involving a large dose of “I want to fight TOGETHER with you” to get the loner to actually do something. The more interesting fight, though, is between Finral and Langris, as you might guess by the cover art. There’s a lot of bad blood between these two, and all sorts of fears and jealousies come rolling out during the fight, which rapidly starts to turn a lot more deadly than expected. (Without any actual death—at least not yet.) There’s also another character who believes in beautiful things getting completely wrecked, which may be a Jump thing, as we also saw it happen in Toriko. All this plus tragic backstory to show off that true magical knights care about people! – Sean Gaffney

DAYS, Vol. 12 | By Tsuyoshi Yasuda | Kodansha Comics (digital only) – Seiseki’s game against Toin continues and Tsukamoto is playing his heart out. It’s gratifying to see the coach of the opposite team notice a change in Seiseki since the previous year, and also gratifying to see Ubukata recognized for her strategic analysis that resulted in Kazama scoring the goal that ties the game at 1-1. There are a lot of missed shots and squandered opportunities and moments where you think that finally Tsukamoto will triumph but instead Toin gets a penalty kick, etc. We also finally learn the significance of the series title—Tsukamoto’s dad died when he was little, and he’s learned never to take the present for granted. “Because someday, this will all be over. But if I try, maybe I can make these days last just a second longer.” I’m a sucker for sentiment in my sports manga. Recommended. – Michelle Smith

Girls’ Last Tour, Vol. 6 | By Tsukumizu| Ywn Press – This is the final volume of the series. Last time I asked if it would end in death. Technically we don’t see the girls die, but the end of their journey certainly seems to be The End of Their Journey, if you know what I mean. That’s the trouble with post-apocalyptic After the End series; unless you pull a fast one to find civilization has simply moved elsewhere (for a moment I wondered if they were going to get on a rocket and go to space in this volume, but that’s probably also a bad idea) you’re left with the fact that humanity has died. There’s some good bits here. I loved Chiro finding the massive library, as well as Yuuri’s calming presence. It was a sad journey in the end, but I’m glad I took it with them. – Sean Gaffney

Laid-Back Camp, Vol. 5 | By Afro | Yen Press – I was very pleased to see that, after last volume’s “camping with friends is fun!,” which Rin agreed with, that nevertheless almost all the camping this time around is by Rin by herself, because she loves camping by herself. This despite the fact that you can get trapped somewhere due to impassable winter roads. Fortunately for Rin, this is the modern age where cell service is everywhere, so even when camping by herself, she’s in constant contact with the others. Nadeshiko also meets up with Rin and introduces her to the wonders of expensive eel, as well as showing off a childhood friend and the fact that she’s lost a ton of weight recently. (She seems very cute either way.) This is such a peaceful series. – Sean Gaffney

Magi: The Labyrinth of Magic, Vol. 34 | By Shinobu Ohtaka | VIZ Media – Sean warned me that this volume had some creepy scenes, but I was not prepared. Sinbad has succeeded in becoming the god of the world and has rewritten the rukh so that everyone agrees with his methods for a securing peaceful future. This includes reverting the world to rukh, thereby killing everyone. Watching the populace cheer, and tearful kids looking excited to die, is seriously disturbing (in a good way). Alibaba and Aladdin are immune, and debate whether they have a right to try to change a fate everyone else seems to want, until a conversation with a brainwashed Morgiana convinces Alibaba that the present is worth fighting for. And so our heroes, accompanied by Judar and Hakuryu, must conquer, like, seven facets of Sinbad or something. It’s vague, but fine. I’m glad things are seemingly wrapping up. Three volumes left! – Michelle Smith

Sleepy Princess in the Demon Castle, Vol. 5 | By Kagiji Kumanomata | Viz Media – I was not expecting the hands-down funniest chapter of this volume to be our princess trying to find a toilet so that she could pee, but there we are. The chapter ends up being hysterical, particularly the facial expressions. Elsewhere, we see the princess has a poor memory for names… and faces. We also see (as if we hadn’t guessed) that she’s an incredibly poor communicator. Even when things AREN’T her fault it’s pretty easy to blame her—a chapter where she tries to be nice and do good things leads merely to fear and paranoia from the demons. There’s no real ongoing plot here, but as long as Princess Syalis remains who she is, there’s certainly ongoing laughs. – Sean Gaffney

A Strange & Mystifying Story, Vol. 6 | By Tsuta Suzuki | SuBLime – Man, A Strange & Mystifying Story has evolved sooooo much since its early volumes. Now it’s a gripping supernatural drama and it’s easy to forget it started out as something smutty with consent issues until Setsu shows up and gives Tsumugi terrible advice on how to make Kurayori his. Kurayori has been holed up in his shrine and just when he finally emerges to talk with Tsumugi, Magawa and Kai arrive to cause problems. I’m surprised Suzuki-sensei has made me like and sympathize with Kai so much so quickly, but she has. He may be a monster, but his desperate desire to be useful mentally unstable Magawa so that he won’t disappear is genuine. Plus, we got a bonus chapter with my favorite couple! The next volume is the last and I’m really looking forward to seeing how everything plays out. – Michelle Smith

Sword Art Online: Hollow Realization, Vol. 2 | By Tomo Hirakawa, based on the story by Reki Kawahara | Yen Press – There is still a modicum of danger here—the threat to NPCs is still real, and Kirito by his very existence will attract trouble. That said, the fact that everyone is alive in this version of SAO (well, OK, not Sachi, but the cliffhanger included an appearance from someone I definitely was not expecting to see) and that we get chapters devoted to things like teaching Yuuki how to do school homework properly (which leads to helping dead school ghosts to pass on, much to Asuna’s horror) makes it feel sort of like the Today’s Menu for the Emiya Family of SAO. Instead of food, though, we get cool battles and cute interactions. Fun, though again confusing for non-gamers. – Sean Gaffney

Urusei Yatsura, Vol. 1 | By Rumiko Takahashi | Viz Media – While Urusei Yatsura became one of Rumiko Takahashi’s first major successes in Japan, the small portion of the series that was initially translated into English has been out-of-print for the better part of two decades. Happily, Viz is once again hastening “The Return of Lum” by releasing Takahashi’s highly influential manga in a new omnibus edition. For the most part the series is episodic in nature. Although there are recurring characters and jokes, overarching plotlines are virtually nonexistent. The basic premise remains consistent from chapter to chapter, though—Ataru Moroboshi, a lustful high schooler, is a magnet for the absurd and supernatural. Early on he manages to accidentally engage himself to Lum, an alien princess. Honestly, I wish Lum held more of the series’ focus than Ataru, but I still get a kick out of the manga. In particular I appreciate Urusei Yatsura‘s numerous references to Japanese mythology and literature. – Ash Brown

By: Ash Brown

#Anime #News #Manga Bookshelf

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recentanimenews · 6 years

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Bookshelf Briefs 3/12/18

The Ancient Magus’ Bride, Vol. 8 | By Kore Yamazaki | Seven Seas – I have to say, if the artist is trying to get Chise and Elias to be a romantic couple, as the title might imply, she’s doing a horrible job of it. That said, I’m pretty sure that’s not what she’s doing, and the second half of this volume certainly shows that in terms of understanding humanity and Chise’s own wishes, Elias fails dismally. Chise spends most of this volume dealing with the aftermath of the previous one, including her new arm. But it’s hard not to have the story overwhelmed by the final couple of chapters, as Chise decides it’s for the best to break with Elias—at least for now. This remains intensely addicting, though I’m not entirely certain it will have a happy ending. – Sean Gaffney

Beasts of Abigaile, Vol. 3 | By Spica Aoki | Seven Seas – Captured by Eva and with the threat of having her odiferous humanity revealed to the whole school, Nina insists she’s not like other humans. Roy intervenes, challenging her to prove it and claiming he’ll kill her himself if he’s not convinced. Initially, what follows is one of those “this is so stupidly impulsive” moments in which Nina climbs a cliff in the rain to get roses for Poe to paint with, but it turns into a pretty terrific scene with Eva in which Nina sacrifices herself for Eva’s sake and leaves the latter with no target for her anger. Plus, Roy now admits she’s not their enemy. In fact, the enemy seems to be the creepy student council president, who drugs Nina for this volume’s cliffhanger. Still way better than you’d expect. – Michelle Smith

Bloom Into You, Vol. 4 | By Nakatani Nio | Seven Seas – It’s summer vacation and the student council has a training camp to rehearse for their upcoming play. Before the camp, though, Yuu has time to really miss Nanami (who is trying to keep her distance lest Yuu get tired of her) and is a little jealous at the closeness Nanami and Sayaka share at the camp. As ever, though, Nanami and her sister complex is the most interesting thing about the series. Here, she learns from her sister’s former classmate that the idealized version she held of her sister was far from the truth. In fact, she’s probably surpassed her already in so far as being a good president is concerned. But who is she supposed to be now? Clearly not herself, because her self-loathing is very strong. I look forward to seeing whether Yuu can succeed in helping Nanami to change. – Michelle Smith

Cardcaptor Sakura: Clear Card, Vol. 2 | By CLAMP | Kodansha Comics – The main plot of Cardcaptor Sakura, besides the usual acquiring of new cards, is that Eriol and Syaoran are keeping a secret from Sakura, presumably either for her own good or so that she isn’t sad. This is intensely frustrating for the reader, who knows it will backfire in the worst way. Thankfully, the rest of the volume is exactly what you want from this series: light cute fluffyness, lots of card-capturing action, cute costumes and Tomoyo’s reactions to said costumes, and the occasional bout of silly humor. Still, the “secret” being kept from Sakura not only makes the reader edgy but makes it harder to enjoy this manga to its fullest. I hope she finds out what it is soon. (Also, please don’t let it be a crossover with Tsubasa.) – Sean Gaffney

Fukushima Devil Fish | By Katsumata Susumu | Breakdown Press – It’s been almost a decade since the award-winning Red Snow, Susumu’s first volume of manga to be translated into English, was released. Now there is a second–Fukushima Devil Fish, a terrific collection of nine of Susumu’s short manga accompanied by four essays written by Susumu himself, Abe Yukihiro, and the volume’s editor Asakawa Mitsuhiro, which provide additional context. The manga were all originally released between 1969 and 1989, most of them in the influential alternative manga magazine Garo. The stories generally fall into three categories. The first two are anti-nuclear manga using the now infamous Fukushima nuclear power plant as a setting. (They are very interesting to compare to Kazuto Tatsuta’s Ichi-F.) Kappa and tanuki feature prominently in the next four folklore-inspired tales while the final three incorporate semi-autobiographical elements. It’s a bit of a variety, but there’s a beautifully expressed sense of loneliness and melancholy that is frequently found throughout. – Ash Brown

Haikyu!!, Vol. 21 | By Haruichi Furudate | Viz Media – The game finally ends in this volume, in suitably dramatic fashion. Hate to spoil it, but our heroes win. The win takes up the majority of the volume, though, and is filled with back-and-forth, showing off the exhaustion and stubbornness of both teams, as well as giving a lesson in “short people can too be good at volleyball.” Actually, the exhaustion leapt out at me—this volume does a great job of showing how physically grueling this match was, and how deeply, deeply tired everyone is at the end of it. And so now we wait to see who Karasuno will be playing—Nekoma are their “rival” team, but there’s ominous foreshadowing showing that it’s not going to be them. I suspect the team with the smuggest bastards wins. – Sean Gaffney

Kiss Him, Not Me!, Vol. 13 | By Junko | Kodansha Comics – When a series is about a heroine’s love of 2-D anime heroes over actual guys, and she ends up paired up with a guy, there’s going to be conflict. And given this is primarily a comedy, it takes a LOT to get it through Kae’s head that Mutsumi is her REAL boyfriend and Shion is a fictional character. (The resolution to this dilemma, I note, is so perfectly in character it hurts.) Naturally, there’s a bitter mastermind behind this. Unlike a lot of “you think I’m gay but I’m not” male shoujo rivals, Yashiro actually *is* gay, and the manga does its best not to make that a stereotype. He’s certainly a jerk, though. The series ends in the next volume, and I think it’s the right place to end it. Keep reading this if you’ve already been doing so. – Sean Gaffney

Queen’s Quality, Vol. 3 | By Kyousuke Motomi | Viz Media – There’s a bit less silly humor in this volume, mostly as we’re still trying to figure out what kind of Queen Fumi is going to turn out to be. The ideal is apparently the White Queen, but frankly, all options seem to involve a certain sacrifice of self that I suspect Kyutaro is not going to appreciate—though Fumi already has a big swathe of amnesia to deal with. Fumi is a cute, hyperactive and likeable heroine, but she only really seems to come alive when the “Black Queen” in her comes out. The Black Queen needs to be killed, but is that really the best answer? As with Dengeki Daisy, the author’s previous series, each volume of Queen’s Quality makes me want to learn more about the world it inhabits. – Sean Gaffney

Scum’s Wish, Vol. 6 | By Mengo Yokoyari | Yen Press – First of all, my reaction to the male option that will prevent Ecchan from having to be a genuine lesbian is basically “BLEAH.” (I may be wrong, but I suspect I’m not—also he’s an asshole, which isn’t helping.) The core of this book involves Mugi and Hanabi both promising to break things off with their crushes so that they can finally move on. This proves far more successful in one case than it does in the other, but it does remind you that if you have a situation in Scum’s Wish and you don’t know which way it will go, the seediest route is always the correct option. I’m still reading this, but I admit it’s feeling less like a guilty pleasure and more like an endurance contest. How much more screwed up will this get? – Sean Gaffney

Skip Beat!, Vol. 40 By Yoshiki Nakamura | VIZ Media – After such a long wait, it’s kind of a bummer to get only a transitional volume of Skip Beat!. By no means is it bad, as it includes Kyoko realizing that, for some reason, Ren left her off his list of White Day gift recipients (I hope this leads to some kind of confession soon!), and also acquiring Yashiro as her manager. She’s devoting herself to securing the part of a ninja in a period drama where she can work alongside Moko, but just as the auditions are about to begin, she’s culled, seemingly for failing to prepare for the role by dyeing her hair black. I can only assume that she’ll knock ’em dead in the next volume, but having to wait until September to see that makes me pout. Oh, well. #firstworldproblems – Michelle Smith

By: Michelle Smith

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recentanimenews · 7 years

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My Week in Manga: April 17-April 23, 2017

My News and Reviews

Well, I didn’t manage to post my in-depth manga review for April last week after all. Today I’m starting in a new position at a different library, meaning that last week I spent most of my time tying up as many loose ends as possible at my previous job. This included writing a lot of documentation. And since I was doing so much writing for work, by the time I got home I didn’t want to do anything but read, so that’s what I did. (Which goes to explain why I ended up finishing Cixin Liu’s excellent novel The Three-Body Problem much sooner than I had originally anticipated.) But never fear, I’ll be posting my review of Nagabe’s The Girl from the Other Side later this week in addition to the monthly manga giveaway.

In other news, Seven Seas continued its string of licensing announcements, adding Orikō Yoshino and Z-ton’s light novel series Monster Girl Doctor, Kazuki Funatsu’s Yokai Girls manga, and Saki Hasemi and Kentaro Yabuki’s To Love Ru and To Love Ru Darkness manga to the slate. Recent announcements from Viz Media included Sankichi Hinodeya’s Splatoon manga, a Hello Kitty coloring book, picture books of Hayao Miyazaki’s Castle in the Sky and Princess Mononoke, as well as the My Little Pony: The Movie artbook. Kodansha Comics had a couple of announcements to make recently, too, such as the upcoming release of full-color hardcover edition of Gun Snark’s Attack on Titan: No Regrets (I’ve previously reviewed the series’ first English-language release) and a hardcover omnibus edition of Yukito Kishiro’s Battle Angel Alita. (The series was originally published in English by Viz Media but has been out-of-print for quite some time.)

I also came across a few other interesting things last week: Over at The OASG, Justin interviewed Mariko Hihara and Kotoyo Noguchi, two independent manga creators in Japan. Noguchi also had some questions to ask in return. Frederik L. Schodt (whose work I greatly enjoy) was recently profiled at Nippon.com. The article takes a look at his involvement as an ambassador for manga over the last four decades. Caitlin from I Have a Heroine Problem presented a panel called “Is This Feminist or Not? Ways of Talking about Women in Anime” at Sakura Con 2017 and has made her slides available. A very nicely designed site called Persona Problems offers criticism of Persona 5‘s English localization and delves into translation theory and practice that even people who don’t play the game may find interesting. Finally, the author and designer Iku Okada has started a series of autobiographical essays called Otaku Girl and Proud which explores Japanese gender inequality and identity and how popular culture can impact that experience.

Quick Takes

Dorohedoro, Volumes 17-20 by Q Hayashida. Despite being one of my favorite ongoing series currently being released in English, I seem to somehow always forget how incredibly much I love Dorohedoro. I tend to forget how tremendously horrific the manga can be, too, mostly because it simultaneously manages to be surprisingly endearing. Hayashida’s story and artwork is frequently and stunningly brutal, gut-churning, and grotesque, but Dorohedoro also carries with it a great sense of humor. Granted, the comedy in Dorohedoro tends to be phenomenally dark. Lately, as Dorohedoro continues to steadily progress along what I believe will be it’s final major story arc, the series has become fairly intense and serious, but it remains exceptionally weird and has yet to completely lose its humor. The plot of Dorohedoro does meander a bit and because it’s been so long since I’ve read the previous volumes I’m sure that I’ve forgotten a few important details as the story takes multiple convoluted turns along the way. Ultimately, it doesn’t seem to really matter though since the world and characters of of Dorohedoro follow and operate under their own peculiar sort of logic; Dorohedoro doesn’t need to make a lot of sense in order to be bizarrely enjoyable.

FukuFuku: Kitten Tales, Volumes 1-2 by Kanata Konami. Before there was Chi’s Sweet Home there was FukuFuku Funyan, Konami’s cat manga which started in the late 1980s. The series featured an elderly woman and her cat FukuFuku. More recently, Konami created FukuFuku: Kitten Tales, a spinoff of FukuFuku’s first series which, as can be accurately assumed by the manga’s title, shares stories from the loveable feline’s youth. While Konami’s artwork in FukuFuku: Kitten Tales is black-and-white rather than being full-color and the manga is only two-volumes long rather than being twelve, the series is otherwise very similar in format to Chi’s Sweet Home. It’s actually been quite a while since I’ve read any of Chi’s Sweet Home, but FukuFuku: Kitten Tales feels like it might be a little more episodic as well. However, it is still an incredibly cute series. Each chapter is only six pages or so but manages to tell a complete story, accurately portraying the everyday life and antics of a kitten. FukuFuku: Kitten Tales isn’t especially compelling or creative as far as cat manga goes, but it is an adorable series which consistently made me smile and even chuckle from time to time.

Magia the Ninth, Volume 2 by Ichiya Sazanami. I enjoyed the first volume of Magia the Ninth immensely. I’m not really sure I could call it a good manga per se, and I don’t think I would necessarily recommend it broadly, but personally I got a huge kick out of it. That being said, I can’t say that I’m surprised that the series only lasted two volumes. (I don’t know for certain, but I get the feeling that Magia the Ninth was cancelled.) What did surprise me was how well Sazanami was able to pull everything together to conclude the manga in a coherent (and almost satisfying) fashion when obviously it was intended to be a series on a much grander scale. To be honest, Magia the Ninth probably would have done much better for itself if the manga had had that level of focus from the very beginning. Magia the Ninth is a strange and somewhat goofy little series about demons, magic, and music. While the series wasn’t always the most comprehensible, it’s stylishly drawn, has tremendous energy, and even manages to effectively incorporate legitimate music history into the story. Magia the Ninth may not have lived up to its potential, but I had fun with it.

The Prince in His Dark Days, Volumes 2-3 by Hico Yamanaka. More and more of The Prince in His Dark Days seems to revolve around Itaru, but at this point I would still consider Atsuko, who is serving as Itaru’s double, to be the real lead of the manga. Unfortunately, Atsuko is casually threatened with sexual violence on a regular basis in the series which frankly makes me uncomfortable. In general, the power dynamics in The Prince in His Dark Days tend to be fairly disconcerting. It doesn’t really help when other characters’ try to play it off as a joke, either. If anything, it only seems to emphasize the fact that so many of them are unrepentant jerks. I know that I’m supposed to empathize with some of their personal struggles, but I find it difficult to spare a lot of sympathy for entitled assholes. However, the themes that Yamanaka explores in The Prince in His Dark Days are of tremendous interest to me, most notably those of gender expression and sexual identity. I also appreciate the manga’s melancholy mood and the slow blossoming of love in unexpected places. There’s only one volume left in The Prince in His Dark Days and despite some of my reservations about the series I am curious to see how it ends.

The Three-Body Problem by Cixin Liu. If my memory serves me right, The Three-Body Problem is actually the first contemporary Chinese novel that I’ve read. It initially came to my attention when it became the first work in translation to win the Hugo Award for Best Novel. Interestingly, when The Three-Body Problem was translated into English by Ken Liu, the order of the chapters was restored to what the author originally intended and a few additional changes were made in consideration of some of the real-world scientific advances that had developed since the novel was first published in China. As a novel that leans heavily on hard science, I found The Three-Body Problem to be fascinating. (At one point in my life, I actually considered going into theoretical physics.) But what makes The Three-Body Problem so compelling are the social aspects of the narrative. In particular, China’s Cultural Revolution and the characters’ responses to it play a critical role in the story’s development. The Three-Body Problem is the first book in a trilogy, Remembrance of Earth’s Past, and so while largely being a satisfying novel on its own, it’s obviously only the beginning of a larger work. I definitely plan on reading the rest.

By: Ash Brown

#Anime #News #Manga Bookshelf

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