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Comments
I click that and I get a giant picture of white panties. What the hell is this supposed to be?
Remain as pure as you are.
Yikes.
"new yuyuyu"?
And is that Sonoko Nogi?
It's always funny when seiyuu are into left-field things.
To be honest, my brain basically treated them like white noise both times I watched it (plus during the third movie). I mean, they're barriers in an anime. Fancy ones, sure, but so what? The witches personalities are mostly left out of the anime and you can only really learn about them from TSed material from the wiki or whatever, and the only thing that matters is if the girls survive or not during that episode.
I have to admit it was also very easy to be confused as to which elements the girls were meant to be fighting and which ones were just background things.
Kind of similarly, I found the transformations that did happen outside the OP kind of... jarring for no real reason? Like, Sonoko's from WaSuYu is cute and full of cats and sort of jarring but that makes sense, in Madoka it's like... the show is so clean and clear that the transformations being so [unnatural noises] were kind of ????
so, um, yeah
Actual new content and not just the movie trilogy in chopped up form.
Who else would it be?
Is it really? I think just about everyone's familiars would get out of the way once an actual fight starts. Besides Walpurgisnacht's but those weren't inside a labyrinth.
I understand they are a marvel of production design, but I prefer simple production design (which tends to be live action, like all how the costume designer gets all the best T-shirts for Kamen Rider Build).
I didn't think the labyrinths were "confusing", but I just felt that they seemed a bit too "intentionally bizarre".
Maybe it had to do with how they looked conspicuously 2D and photographed? I get they're supposed to be otherworldly, but not otherworldly as to make it look like a puppet performance. (To be fair the show did bookend with a stage-like appearance...though that further cements the idea that the whole performance was "constructed".)
That applies to Utena far more than PMMM, really. The former leans on that aspect for self-commentary as often as possible while in the latter it's just... there.
It's probably just a result of the show having generally loose constraints on anyone working on the visual side.
I'm not sure if I should take this to mean you'd prefer if the show was a more direct translation of Urobuchi's imagination (i.e. Walpurgisnacht being similar to Godzilla).
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(mostly unrelated)
what the flying hell is this? http://namco.wikia.com/wiki/Namco_High
We've all seen it, from Symphogear's actual dependence on drugs and Karin's obsession with supplements; magical girls like drugs, a lot.
I think this is some weird combination of the fact that magical girls are supposed to represent growing up and the use of performance enhancing drugs by athletes and people who just want to look great on instagram to just be better at stuff. Which, I guess, is mostly a male thing (which is why I said it was a weird mix in the first place).
I think where this is taken most literally is the mage Mana from MahoIku, who can't be without drugs if she wants to match up with the magical girls, who are described as superhumanly strong and almost beyond athletic (their main form of transport is jumping, for goodness sakes).
The gap might be even bigger. There's one scene when they go through most of a fight in the time it took her to get something from her pocket.
I need to find something with about as much payoff enjoyment-wise as PADX but nowhere near as long, but nobody seems to make two-cour kid's anime unless they do really badly (or are secretly 4-cour split-cour like Time Bokan 24).
I never knew how much I wanted to watch something about Aoi's terrible cooking.
brawling overtalking about how one is supposed to treat anime.My position was that there is a Good/Bad scale and a FUN/why scale, and that the former is completely objective whilst the latter is at most vaguely objective. For example, ACCA: 13-ku Kansatsu-ka was a great anime, whilst Gunslinger Stratos The Animation is a travesty of storytelling but I still love it.
Another way to consider the Good/Bad scale would be by giving the desirable end of the scale a name, so I went with 'Narrative merit', also known as 'How your creative writing teacher would judge you', this would have various elements such as plotting, characterization, impact, and so on.
GMH's position is that the Good/Bad and FUN/why scales are the same thing, he called it 'effectiveness'. I'm not one to argue his position, but it'd be weird if I didn't mention it.
>experience the best subs google translate has to offer
See, the Taisha (or even The Amnesty, if you choose to keep it) is a danged proper noun that they say OVER AND OVER, and the plan Mimori is referring to is not a crime at all, rather it is a "nefarious plan".
That they planned.
There are many tools in the toolbox of writing, from ways to format text to ways to characterize characters to ways to pace the plot to ways to insert authorial commentary. Different tools have different effects, so the important question is what you as the author want to achieve, and whether the tools you've chosen achieve that.
Simple example: Chains of exclamation points are a tool that indicates exaggeration and unseriousness, and reduces immersion. If you want to tell a serious story where you want to immerse the reader, you normally want to avoid this tool. However, it may be relevant in isolated cases involving writing what an in-universe character would write and/or involving "interface screw" for the reader to throw them off and destabilize their sense of understanding.
On top of this evaluation of "effectiveness", there is a secondary scale -- or more like a multidimensional surface than a single scale -- of taste. For example, some people really like exaggerated humor, while other people prefer subtle humor. This itself may change from time to time. And it's also influenced by the ability of a story to set its tone and lead the audience into appreciating itself, which is a measure of effectiveness.
Sometimes, there are works that are not properly presented. Off the top of my head, I can think of a game called Inescapable. It's presented as an action adventure game focused on exploration, set on an alien planet in a sci-fi setting. Players are often drawn to it expecting something akin to the Metroid games. However, it turns out that the game doesn't have much in the way of action other than simple combat, is rather short and thus not really comparable to the Metroid games in scope, and instead emphasizes an uneasy atmosphere and contains horror elements (to a greater extent than the Metroid series does) and horror-style storytelling (e.g. making use of one's powerlessness rather than gaining power as a narrative tool). Many players who came to this game with the wrong expectations and thus were sorely disappointed.
Could the game have done a better job leading its audience to the result it desired, or should the audience have come in with the right expectation, or not come in with any expectation at all? It's sort of an open question and I'm not sure I have an answer to this.
Was this the intent of the game's developer? Honestly, that's not something I can figure out definitively, aside from the developer actually describing their intent personally, which I haven't read. I can use my experience as a gamer to guess that they did intend that lean toward horror as opposed to exploration/action, because I'd be quite surprised if they inserted various features "by accident". But in a way I don't think the developer's original intent is all that important when I can simply couch the way I see effectiveness as being toward a specific thing:
* the game is not effective at being a Metroid-like action exploration game.
* the game is effective at being a short horror adventure.
In a way I guess you could say that that sort of "effectiveness" is what I actually think is objective, and I could agree to that. But to say it's "good" or "bad" implies choosing a certain objective for it to be effective as...which means incorporating one's tastes. For example, I'd have a low opinion of a show that really irritated me, even if it might be judged as effective in others' opinions because their tastes are different. Similarly, I might find a show that other people consider mediocre/generic/bland to be really enjoyable, and thus it was clearly effective at something for me -- even if it's not what others wanted to get out of it (and for that matter, even if it's not the author's intended line of effectiveness).
I can't believe they announced Lostorage during an episode of Selector.
Also the fanservice involving
MelindaMilinda is starting to get annoying. Like, I'd actually like to, y'know, take her seriously as a character, not as a sex object? Actually, the fanservice involving everyone is annoying. At least episode 4 tries to make it relevant to characterization, but that's still weak so far.Also the ED for some reason reminds me of "The Earth's Final Confession" by kemu vox crossed with "True Blue" the first ED of Sky Girls. Meanwhile, the ED is half kinda cool and half meh. The OST is curiously electronic.
Aside from these issues, this show is pretty exciting. I occasionally wonder why the military forces don't have proper coverage in some areas (or why the protagonists can afford to be so wordy), or why they make certain assumptions that seem too naïve for a military, but...well, so be it. Besides, by episode 8, the main characters have been actively engaged in royally screwing one of those assumptions, suggesting that that assumption was temporary at best.
(Also is it a coincidence that a saboteur's surname is Barbotage?)