Rate the last anime you watched out of 10
- Thread starter Aion
- Start date
qaiz
Pokémon Master
Jarinko Chie (Review, Film, 1981)
For the past 50 years Isao Takahata has worked on some of the industries most critically acclaimed films as well as some of the most beloved television series to grace the medium. A co-founder of Studio Ghibli, many of his most recognized works stem from his 32 year long tenure at the prestigious studio, however the film I'm writing about today pre-dates his Studio Ghibli debut and its an overlooked gem, a magnifying glass placed upon a fractured family unit, lovingly crafted and brimming with charm it contains all the hallmarks that you'd expect of a Takahata film from his astute understanding of everyday family life to the comedy that surrounds it, a gentle and touching tale that contains all of the heart in the world.
Jarinko Chie directed by the late Isao Takahata and released back on April 11th 1981 is a film adaptation of a long running manga series. Interestingly Miyazaki was originally penned to direct the film, he however declined and so Takahata took over, it's hard to predict just how this film would have turned out with Miyazaki as director but it's safe to say that Takahata was a perfect choice for the material at hand. After the film released Takahata went on to direct the Jarinko Chie television series only a few months later and so it's safe to say that he developed an affinity for the world and its characters and it's easy to see why, after all a film about the interactions between family members is what Takahata excels at. Jarinko Chie takes place in 1960's Osaka and revolves around Chie, a ten year old girl who lives with her single father, a brute who fights and gambles all of his money away. Chie spends her days juggling both school and her job at her families diner. The film opens with Chie's father begging his old man to lend him money due to Chie's waning health, of course he's lying about her condition as a means to obtain more money in order to gamble and gamble he does, losing all of the money to the owner of a local gambling parlour. The premise may sound depressing however what makes Jarinko Chie work is its humour, make no mistake this is a comedy. In the very next scene for example Chie spots a cat meowing timidly and tosses it a skewer to eat, the cat grabs the skewer, gets up onto two legs and walks up to a trash can, leaning against it cockily as he eats, cartoon testicles in sight not unlike the Tanuki in Pom Poko, another Takahata film. Jarinko Chie is a comedy and the fantastic voice acting is the backbone that makes up the humour, a majority of the cast in fact originate from popular manzai groups from Osaka, a traditional style of Japanese stand-up comedy.
Like Takahata's other films Jarinko Chie has a beautiful aesthetic. It's not as detailed as Only Yesterday nor unconventional like The Tale of Princess Kaguya however similarly to the two aforementioned films it's both pretty and fully realized. Backgrounds are painterly and detailed, and although a vast majority of the film utilises medium and two shots we do get some nice establishing shots that set the tone and place. Since this is a film pertaining a close-knit family the camera is often close and fixated on characters. The film itself seems to be made up of around 20 chapters and although there's an overarching theme to the film Chie finds herself in various predicaments throughout the 1 hour 50 min runtime, each taking place in a different location, almost play-like in its structure. The backgrounds are homely and appealing and make for a beautiful and accurate rendition of 60's Osaka, even today you'll notice many famous landmarks adorning the backgrounds.
As the film progresses Chie comes into contact with her mother, unbeknownst to Chie's father. These scenes are lovely and showcase Takahata's masterful ability to depict complex familial relationships through simple visual storytelling. Pillow shots give scenes room to breathe, the camera often lingers as the characters fall into a deep thought, monologuing their predicament. There's many fantastic scenes in this film however there's one scene in particular that I want to delve into and its impact was profound and surprising. It's because of its surprising nature that I initially thought to refrain from spoiling this scene however I felt that it would be a disservice not to discuss it, I also felt that perhaps bringing to light this scene would convince people to earnestly give this film a shot. Whilst spending time with one another at the park both Chie and her mother go to the cinema, and here we're presented with a clip from the live action 1967 film The Son of Godzilla. The scene shown in particular is of Godzilla and his son Minilla. In this father-son moment, Godzilla lets out his atomic breath and then gestures to Minilla to do the same, however all he can muster up is a smoke ring, Chie and her mother laugh, Godzilla gestures to Minilla to have another go and as his son gears up to try again Godzilla steps on his tail and a full blown atomic breath is let forth, Godzilla then embraces his son. Minilla like Chie lacks confidence and although Godzilla's tactics for surfacing Minilla's inner hidden abilities is comedic it's still touching. It's a poignant scene, one that could've easily been animated in order to conform to the visuals of Jarinko Chie and yet Takahata decided to place a live action film inside of the animated world and the two styles juxtapose beautifully. It's this type of out of the box and unconventional film-making that placed Takahata in a league of his own.
The soundtrack scored by Masaru Hoshi is lovely, enhancing each and every scene. Like many of Takahata's other works the film isn't afraid of silence, sometimes the silence heightens the comedic scenes and other times it's used in order to intensify the emotional moments. Ambient sounds such as birds chirping or the clanging of trains creates a sense of place, bringing the world to life. Also, it bears mentioning that unconventionally all of the dialogue was recorded before the animation, clearly this has an impact on the way in which characters are animated and it makes for a real connection between the two, even-though the film is animated and character designs are exaggerated nevertheless it really does feel like a live action film. The characters are believable and I instantly became immersed in this little group of characters and their lives, invested in their journey. I absolutely adore Chie's design, from her large head and tiny doll like eyes to her massive, larger than life grin and teeth, the juxtaposition between her and her more refined and elegant mother is sweet, I got a real sense that the two were slightly envious of each other, Chie's young and yet she's a real go-getter, the glue that keeps the family together, always happy and smiling, of course as the viewer we're also privy to those moments in which she is less certain in her own abilities.
Even-though this is one of Takahata's earlier works you really get a clear sense of his abilities, even at this stage. As I mentioned earlier Jarinko Chie is broken up into chapters, little vignettes that capture everyday life within Chie's household, this structure is similar to My Neighbors the Yamadas, a later Takahata film. A soft and delicate film about everyday life, the thoughtfulness that's applied to the ways in which the characters interact with one another also reminiscent of Yamadas. The deliberate pace in which the film meanders from scene to scene evocative of Only Yesterday, and of course the anthropomorphic cat with prominent testicles, a key element of this film made a similar return in Pom Poko 13 years later. Although Takahata was known for his films that tackled serious matters, even Pom Poko, a film with an oddball cast and aesthetic is enshrouded in a serious plot about the environment. It's evident that Takahata had an understanding of comedy, utilizing it beautifully throughout his 50 year long portfolio. At the end of the day some of the funniest moments occur within otherwise unassuming households, moments between loved ones, forever living in the hearts and minds of those close to us, never to be forgotten, undoubtedly the memories we all have of Takahata and his films will too live on for eternity.
For the past 50 years Isao Takahata has worked on some of the industries most critically acclaimed films as well as some of the most beloved television series to grace the medium. A co-founder of Studio Ghibli, many of his most recognized works stem from his 32 year long tenure at the prestigious studio, however the film I'm writing about today pre-dates his Studio Ghibli debut and its an overlooked gem, a magnifying glass placed upon a fractured family unit, lovingly crafted and brimming with charm it contains all the hallmarks that you'd expect of a Takahata film from his astute understanding of everyday family life to the comedy that surrounds it, a gentle and touching tale that contains all of the heart in the world.
Jarinko Chie directed by the late Isao Takahata and released back on April 11th 1981 is a film adaptation of a long running manga series. Interestingly Miyazaki was originally penned to direct the film, he however declined and so Takahata took over, it's hard to predict just how this film would have turned out with Miyazaki as director but it's safe to say that Takahata was a perfect choice for the material at hand. After the film released Takahata went on to direct the Jarinko Chie television series only a few months later and so it's safe to say that he developed an affinity for the world and its characters and it's easy to see why, after all a film about the interactions between family members is what Takahata excels at. Jarinko Chie takes place in 1960's Osaka and revolves around Chie, a ten year old girl who lives with her single father, a brute who fights and gambles all of his money away. Chie spends her days juggling both school and her job at her families diner. The film opens with Chie's father begging his old man to lend him money due to Chie's waning health, of course he's lying about her condition as a means to obtain more money in order to gamble and gamble he does, losing all of the money to the owner of a local gambling parlour. The premise may sound depressing however what makes Jarinko Chie work is its humour, make no mistake this is a comedy. In the very next scene for example Chie spots a cat meowing timidly and tosses it a skewer to eat, the cat grabs the skewer, gets up onto two legs and walks up to a trash can, leaning against it cockily as he eats, cartoon testicles in sight not unlike the Tanuki in Pom Poko, another Takahata film. Jarinko Chie is a comedy and the fantastic voice acting is the backbone that makes up the humour, a majority of the cast in fact originate from popular manzai groups from Osaka, a traditional style of Japanese stand-up comedy.
Like Takahata's other films Jarinko Chie has a beautiful aesthetic. It's not as detailed as Only Yesterday nor unconventional like The Tale of Princess Kaguya however similarly to the two aforementioned films it's both pretty and fully realized. Backgrounds are painterly and detailed, and although a vast majority of the film utilises medium and two shots we do get some nice establishing shots that set the tone and place. Since this is a film pertaining a close-knit family the camera is often close and fixated on characters. The film itself seems to be made up of around 20 chapters and although there's an overarching theme to the film Chie finds herself in various predicaments throughout the 1 hour 50 min runtime, each taking place in a different location, almost play-like in its structure. The backgrounds are homely and appealing and make for a beautiful and accurate rendition of 60's Osaka, even today you'll notice many famous landmarks adorning the backgrounds.
As the film progresses Chie comes into contact with her mother, unbeknownst to Chie's father. These scenes are lovely and showcase Takahata's masterful ability to depict complex familial relationships through simple visual storytelling. Pillow shots give scenes room to breathe, the camera often lingers as the characters fall into a deep thought, monologuing their predicament. There's many fantastic scenes in this film however there's one scene in particular that I want to delve into and its impact was profound and surprising. It's because of its surprising nature that I initially thought to refrain from spoiling this scene however I felt that it would be a disservice not to discuss it, I also felt that perhaps bringing to light this scene would convince people to earnestly give this film a shot. Whilst spending time with one another at the park both Chie and her mother go to the cinema, and here we're presented with a clip from the live action 1967 film The Son of Godzilla. The scene shown in particular is of Godzilla and his son Minilla. In this father-son moment, Godzilla lets out his atomic breath and then gestures to Minilla to do the same, however all he can muster up is a smoke ring, Chie and her mother laugh, Godzilla gestures to Minilla to have another go and as his son gears up to try again Godzilla steps on his tail and a full blown atomic breath is let forth, Godzilla then embraces his son. Minilla like Chie lacks confidence and although Godzilla's tactics for surfacing Minilla's inner hidden abilities is comedic it's still touching. It's a poignant scene, one that could've easily been animated in order to conform to the visuals of Jarinko Chie and yet Takahata decided to place a live action film inside of the animated world and the two styles juxtapose beautifully. It's this type of out of the box and unconventional film-making that placed Takahata in a league of his own.
The soundtrack scored by Masaru Hoshi is lovely, enhancing each and every scene. Like many of Takahata's other works the film isn't afraid of silence, sometimes the silence heightens the comedic scenes and other times it's used in order to intensify the emotional moments. Ambient sounds such as birds chirping or the clanging of trains creates a sense of place, bringing the world to life. Also, it bears mentioning that unconventionally all of the dialogue was recorded before the animation, clearly this has an impact on the way in which characters are animated and it makes for a real connection between the two, even-though the film is animated and character designs are exaggerated nevertheless it really does feel like a live action film. The characters are believable and I instantly became immersed in this little group of characters and their lives, invested in their journey. I absolutely adore Chie's design, from her large head and tiny doll like eyes to her massive, larger than life grin and teeth, the juxtaposition between her and her more refined and elegant mother is sweet, I got a real sense that the two were slightly envious of each other, Chie's young and yet she's a real go-getter, the glue that keeps the family together, always happy and smiling, of course as the viewer we're also privy to those moments in which she is less certain in her own abilities.
Even-though this is one of Takahata's earlier works you really get a clear sense of his abilities, even at this stage. As I mentioned earlier Jarinko Chie is broken up into chapters, little vignettes that capture everyday life within Chie's household, this structure is similar to My Neighbors the Yamadas, a later Takahata film. A soft and delicate film about everyday life, the thoughtfulness that's applied to the ways in which the characters interact with one another also reminiscent of Yamadas. The deliberate pace in which the film meanders from scene to scene evocative of Only Yesterday, and of course the anthropomorphic cat with prominent testicles, a key element of this film made a similar return in Pom Poko 13 years later. Although Takahata was known for his films that tackled serious matters, even Pom Poko, a film with an oddball cast and aesthetic is enshrouded in a serious plot about the environment. It's evident that Takahata had an understanding of comedy, utilizing it beautifully throughout his 50 year long portfolio. At the end of the day some of the funniest moments occur within otherwise unassuming households, moments between loved ones, forever living in the hearts and minds of those close to us, never to be forgotten, undoubtedly the memories we all have of Takahata and his films will too live on for eternity.
Garo: Vanishing Line
A solid, above average action-adventure, much enlivened by its high calibre visuals, but held back by some rather rote storytelling. For much of the duration, I was watching this at the same time as Blood Blockade Battlefront and, while Garo was certainly more consistent, I don’t think it ever felt really special, in the way that BBB does at its best.
Overlord s1
Of all the ‘trapped in an MMO’ series I’ve come across, this certainly has the most interesting spin on the concept and was always compelling in its execution, but it never really establishes a credible threat to the MC and feels like it spends the entire cour setting up something that has yet to arrive. I’m keen to start on s2, but if I didn’t have the option to do so immediately, I think I’d have felt a bit short changed.
A solid, above average action-adventure, much enlivened by its high calibre visuals, but held back by some rather rote storytelling. For much of the duration, I was watching this at the same time as Blood Blockade Battlefront and, while Garo was certainly more consistent, I don’t think it ever felt really special, in the way that BBB does at its best.
Overlord s1
Of all the ‘trapped in an MMO’ series I’ve come across, this certainly has the most interesting spin on the concept and was always compelling in its execution, but it never really establishes a credible threat to the MC and feels like it spends the entire cour setting up something that has yet to arrive. I’m keen to start on s2, but if I didn’t have the option to do so immediately, I think I’d have felt a bit short changed.
Lambadelta
Mad Scientist
If your expecting some sort of threat to ever appear in Overlord. I'll tell you to give up now. There is nothing along those lines in the novels yet.
ayase
State Alchemist
Since I took the HiDive I decided to watch Made in Abyss, and I did so in one sitting. I hadn't really paid this much attention when it was big last year - Nothing about it looked particularly special, just another "young characters adventure in a fantasy setting" show which there seem to have been a few of recently and none of which have particularly taken my fancy. But I watched Made in Abyss on recommendation from a friend whose judgement I usually trust, and boy was I wrong about it not being special.
The world of Made in Abyss is not your run of the mill party adventuring D&D or Final Fantasy XI fantasy setting. Of all things, I feel like it has more in common with something like Galaxy Express 999 (and perhaps even the story that inspired that, Night on the Galactic Railroad) in that it's the story of a journey by inexperienced young protagonists through very strange and different worlds to the one they know towards a mysterious final destination. A journey in which they learn hard truths about life that erode their innocence but perhaps bring them a better understanding, a physical journey into adulthood if you like. Not to say that Made in Abyss is particularly deep or philosophical, but it's certainly quite thoughtful when it comes to its humanity and the characters' relationships. It's also a very beautiful and unique world, the environments appear like more subdued, neutral palette versions of the kind of otherworldly fantasy art of the '70s and '80s, like if you turned down the saturation on a Roger Dean painting.
And as for those main characters, they're on the cusp of their teenage years and they actually act like it, not like they're 8 or 18. They have a certain confidence and naivety that they can accomplish things by themselves which are incredibly difficult even for the adults in their world, but when things go wrong they also feel scared and helpless. They're a girl and a boy an the onset of puberty and you can believe that they are (with Reg obviously starting to feel shame and the pull of attraction to Riko, who hasn't quite got there yet and is still more of an innocent) and all of this makes them realistic kids. Kids you know really shouldn't be in these dangerous situations (and it's slightly concerning that the adults in the world they interact with don't seem to have much of a problem with them venturing into what is almost a literal Hell/underworld) but who I easily find myself rooting for and willing to succeed against the odds.
But more than anything I'm enjoying the atmosphere of mystery and feeling of trepidation at what the next thing the abyss is going to throw at Riko and Reg will be, whether physical danger or just a new revelation. It makes it feel like a real adventure the viewer is being taken on too. But viewers are also privy to knowledge that there is a real sinisterness to this world that lies just outside the understanding of the main characters (despite the darkness they encounter) and I'm definately looking forward to more of that.
The tying up kids naked as a punishment is still kinda creepy though. And I can now confirm the rabbit does not have boobs.
8.6/10
The world of Made in Abyss is not your run of the mill party adventuring D&D or Final Fantasy XI fantasy setting. Of all things, I feel like it has more in common with something like Galaxy Express 999 (and perhaps even the story that inspired that, Night on the Galactic Railroad) in that it's the story of a journey by inexperienced young protagonists through very strange and different worlds to the one they know towards a mysterious final destination. A journey in which they learn hard truths about life that erode their innocence but perhaps bring them a better understanding, a physical journey into adulthood if you like. Not to say that Made in Abyss is particularly deep or philosophical, but it's certainly quite thoughtful when it comes to its humanity and the characters' relationships. It's also a very beautiful and unique world, the environments appear like more subdued, neutral palette versions of the kind of otherworldly fantasy art of the '70s and '80s, like if you turned down the saturation on a Roger Dean painting.
And as for those main characters, they're on the cusp of their teenage years and they actually act like it, not like they're 8 or 18. They have a certain confidence and naivety that they can accomplish things by themselves which are incredibly difficult even for the adults in their world, but when things go wrong they also feel scared and helpless. They're a girl and a boy an the onset of puberty and you can believe that they are (with Reg obviously starting to feel shame and the pull of attraction to Riko, who hasn't quite got there yet and is still more of an innocent) and all of this makes them realistic kids. Kids you know really shouldn't be in these dangerous situations (and it's slightly concerning that the adults in the world they interact with don't seem to have much of a problem with them venturing into what is almost a literal Hell/underworld) but who I easily find myself rooting for and willing to succeed against the odds.
But more than anything I'm enjoying the atmosphere of mystery and feeling of trepidation at what the next thing the abyss is going to throw at Riko and Reg will be, whether physical danger or just a new revelation. It makes it feel like a real adventure the viewer is being taken on too. But viewers are also privy to knowledge that there is a real sinisterness to this world that lies just outside the understanding of the main characters (despite the darkness they encounter) and I'm definately looking forward to more of that.
The tying up kids naked as a punishment is still kinda creepy though. And I can now confirm the rabbit does not have boobs.
8.6/10
ayase
State Alchemist
I think that’s all rather overblown. Honestly, the only questionable thing I noticed is the spoiler above - I certainly wouldn’t consider anything sexual/romantic in nature between Reg and Riko (and when it is it’s mild) dodgy, because they’re both at an age where they start to think about these things. It makes them more realistic characters to depict them as such, rather than having them be unrealistically sexless just so as not to make people uncomfortable.
Luna
Death Scythe
Brothers Conflict
I bought that. Not for myself actually, but yesterda my brain was rebelling and so I was in for something somewhat brainless. I kind of expected something like Amnesia and Diabolik Lovers, but while it wasn't quite as questionable it still was just plain downright average underwhelming Otome Game-ish fare.
Except there is just that one mascot.
It TOTALLY looks like a squirrel with rabbit ears. And I have very much a thing for rabbits and I also quite like squirrels and yes, I totally have some wuzzy Dream Fullfilment effects of this failed rabbit so obsessively caring for its owner. And she can even talk to that flurry little guy! Like I'd seriously would love it, if my rabbits would actually care for me. (They about only care when they are hungry or afraid. ;_; )
So... I thiiiiink I sat thought that just for that mascot?
I think I should stop saving Is the Order a Rabbit for hard times. I appear to be already totally in deprivation mode.
5/10 for making me realize.
(4/10 otherwise.)
I bought that. Not for myself actually, but yesterda my brain was rebelling and so I was in for something somewhat brainless. I kind of expected something like Amnesia and Diabolik Lovers, but while it wasn't quite as questionable it still was just plain downright average underwhelming Otome Game-ish fare.
Except there is just that one mascot.
It TOTALLY looks like a squirrel with rabbit ears. And I have very much a thing for rabbits and I also quite like squirrels and yes, I totally have some wuzzy Dream Fullfilment effects of this failed rabbit so obsessively caring for its owner. And she can even talk to that flurry little guy! Like I'd seriously would love it, if my rabbits would actually care for me. (They about only care when they are hungry or afraid. ;_; )
So... I thiiiiink I sat thought that just for that mascot?
I think I should stop saving Is the Order a Rabbit for hard times. I appear to be already totally in deprivation mode.
5/10 for making me realize.
(4/10 otherwise.)
qaiz
Pokémon Master
Of course I haven't seen the show so I can't comment on whether or not this is in the show itself (my phone also won't let me read your spoiler, sorry!), so maybe this is a thing that's more prominent in the manga (which I've head is disgusting on a whole other level) from what I gather, an older character has an obsession with a younger characters junk. From what I've seen there's an obsession with placing characters in sexualised situations and positions that seem to have no reason to exist other than to titillate. Characters being strung up and punished naked, children being tortured and brutalized, nah I'm good fam. As to not make me uncomfortable, please.
thedoctor2016
Mushi-shi
You know thats in like 3 frames and ends by chapter 4 so is really not the story
Lambadelta
Mad Scientist
I don't know where you got the idea that they are put into situations/positions to titillate the viewer/reader...
ayase
State Alchemist
@qaiz I can’t comment on the manga or anything from it that may appear in Season 2 of the anime, but I only noticed one of those things, which is under the spoiler. Yeah it is a bit uncomfortable. But I certainly wouldn’t call it anything approching loli or shotacon and if at any point an older character was depicted as lusting after a younger one, that totally passed me by. I remember a couple of dick jokes and there are times the main characters (who are both kids) see each other in states of undress, but again that seems more for comedy purposes because of their contrasting shame/lack of. The violence is anything but titilating, and personally (ymmv) I wouldn’t say it’s gratuitous. But it can be a grim show, certainly. No-one should go into it looking for sunshine and rainbows.
My last point was meant in a general sense, rather than being aimed at you personally. I make no claims to know your mind. I just don’t see anything inherently wrong about depicting pubescent kids as sexually curious, having been 12 years old myself once I distinctly remember enjoying the pictures of Laetitia Casta in lingerie in one of my mother’s old catalogues at that age...
Edit: I am kinda curious though that you developed this view of Made in Abyss without watching or reading it. Relying on second hand accounts isn’t exactly the most reliable way to develop an opinion of something and a lot of people (especially Westerners, specifically British and Americans) do massively overreact to the idea a 12 year old might have sexual thoughts being presented in media. So that’s something to consider when reading other people’s thoughts.
Might the creator of Made in Abyss have particular tastes? I’d say that’s certainly a possibility, yeah. Does that overshadow or diminish the entire work? No. I can enjoy it just the same as I can enjoy Alice in Wonderland or Peter Pan, knowing what I know about the creators of those works.
My last point was meant in a general sense, rather than being aimed at you personally. I make no claims to know your mind. I just don’t see anything inherently wrong about depicting pubescent kids as sexually curious, having been 12 years old myself once I distinctly remember enjoying the pictures of Laetitia Casta in lingerie in one of my mother’s old catalogues at that age...
Edit: I am kinda curious though that you developed this view of Made in Abyss without watching or reading it. Relying on second hand accounts isn’t exactly the most reliable way to develop an opinion of something and a lot of people (especially Westerners, specifically British and Americans) do massively overreact to the idea a 12 year old might have sexual thoughts being presented in media. So that’s something to consider when reading other people’s thoughts.
Might the creator of Made in Abyss have particular tastes? I’d say that’s certainly a possibility, yeah. Does that overshadow or diminish the entire work? No. I can enjoy it just the same as I can enjoy Alice in Wonderland or Peter Pan, knowing what I know about the creators of those works.
Last edited:
qaiz
Pokémon Master
You mention how at that age it's natural for one to become sexually curious, I just find it funny because you have an Only Yesterday avatar, a movie that deals with such themes in a more mindful and honest manner. If creators are free to create whatever they want then I feel it's only fair to be able to criticise said works, and although a work that strives to tackle the themes of puberty is valid, when the characters are designed to look like, say a 7 year old instead of the proposed teenager that they're supposed to be depicting then one has to wonder, and when you see the source material and the author's likes and interests it becomes obvious what the intent is. I can understand the notion that they went with such a route in order to create a greater juxtaposition between the designs and what the characters are going through but that doesn't mean that I have to be okay with it.
The problem with anime, at least one issue among many is the fact that it's consumed by people whom use it as a means to identity oneself, and so an attack or judgement placed upon a show is taken as something more personal, I am in no way judging the people watching this show, I know people whom I respect who've watched this show and recommend it highly, I however feel as if it would be easy to depict the themes that they're striving for without being so overt and graphic. These kinds of discussions always turn into whataboutisms regarding violence in media, and you know maybe that's a valid discussion to have , why people are okay with movies where people are murdered and brutalised but shy away at the sight of nudity. We shouldn't be ashamed of our bodies nor our sexuality. When it comes to shows like Made in Abyss, a show that I admit I haven't seen so correct me if I'm wrong, it comes down to context and intent. Totoro contains a scene in which the father bathes with his two daughters, not once did it cross my mind that this was anything other than a innocent scene.
I haven't seen the show so why form such an opinion based on opinions alone? Because that's what people do. I can't watch nor consume everything and so second-hand knowledge is needed in order to filter out things that I'd rather not interact with, not out of fear of opposing minds nor not wanting to be challenged but because some content I just don't feel comfortable with supporting, nor do I want to support the creators. If I had gone in and watched the show without prior knowledge of such content, I'd probably see it through and speak my mind after however I feel no need to specifically see such things through with hindsight just to prove something or as a means to know "just how bad it is", maybe that sounds terrible, in this day and age fact checking is lacking, people seem to have their minds made up for them, in this instance I'm fine with that being the case because it doesn't occur to be a fight worth having. The show is good, just ignore the gross ****? Nah.
ayase, you bring up good points and at the very least even if I disagree you place thought into your responses, that doesn't mean I'm going to agree.
The problem with anime, at least one issue among many is the fact that it's consumed by people whom use it as a means to identity oneself, and so an attack or judgement placed upon a show is taken as something more personal, I am in no way judging the people watching this show, I know people whom I respect who've watched this show and recommend it highly, I however feel as if it would be easy to depict the themes that they're striving for without being so overt and graphic. These kinds of discussions always turn into whataboutisms regarding violence in media, and you know maybe that's a valid discussion to have , why people are okay with movies where people are murdered and brutalised but shy away at the sight of nudity. We shouldn't be ashamed of our bodies nor our sexuality. When it comes to shows like Made in Abyss, a show that I admit I haven't seen so correct me if I'm wrong, it comes down to context and intent. Totoro contains a scene in which the father bathes with his two daughters, not once did it cross my mind that this was anything other than a innocent scene.
I haven't seen the show so why form such an opinion based on opinions alone? Because that's what people do. I can't watch nor consume everything and so second-hand knowledge is needed in order to filter out things that I'd rather not interact with, not out of fear of opposing minds nor not wanting to be challenged but because some content I just don't feel comfortable with supporting, nor do I want to support the creators. If I had gone in and watched the show without prior knowledge of such content, I'd probably see it through and speak my mind after however I feel no need to specifically see such things through with hindsight just to prove something or as a means to know "just how bad it is", maybe that sounds terrible, in this day and age fact checking is lacking, people seem to have their minds made up for them, in this instance I'm fine with that being the case because it doesn't occur to be a fight worth having. The show is good, just ignore the gross ****? Nah.
ayase, you bring up good points and at the very least even if I disagree you place thought into your responses, that doesn't mean I'm going to agree.
ayase
State Alchemist
I've been around long enough now that I don't expect to change people's minds @qaiz, you don't have to watch or like the things I do and that's perfectly fine with me. I simply saw your first and second posts regarding Made in Abyss as being founded on assumptions about the show which I personally consider inaccurate, so I wanted to offer my own thoughts on the subject. Like I say, I don't know your mind - As far as I knew you might have been open to reconsidering giving it a shot if I explained it wasn't the loli and shota fest you'd been led to believe. But there's other people reading on a public forum too, and I also wanted to explain for anyone else who might be reading and considering watching (or being put off watching). So please don't go away from this discussion thinking I'm mad at you for insulting Made in Abyss or for having a different opinion, I'm really not. Your points above are fair and it's A-OK for you to do what feels right for you. As for how maturely a show deals with things, I'm fine with both maturity and immaturity in my media (and I'd guess that as a fan of Dragonball Z you are too 
). Especially when characters are immature themselves, it seems okay to me to have them behave in an immature manner sometimes.
To go back to the beginning of this conversation, I guess what I really wanted to get across was that if the BBFC produced such a thing as a rating for loli/shotacon then I don't think Made in Abyss would warrant anything harsher than "Very mild / infrequent" and it's far from being a focus of the show. It seems to me to be an imaginative an engaging work of fantasy fiction which was designed to be that first and foremost. I think if the creator had just wanted to make straight-up loli/shotacon they could and would have, the world and story is not merely an excuse to showcase those things in the way say, ecchi anime is.
Also does no-one else besides me an qaiz have any opinions on this? Did you guys already talk about it last year when I wasn't paying attention?
). Especially when characters are immature themselves, it seems okay to me to have them behave in an immature manner sometimes.To go back to the beginning of this conversation, I guess what I really wanted to get across was that if the BBFC produced such a thing as a rating for loli/shotacon then I don't think Made in Abyss would warrant anything harsher than "Very mild / infrequent" and it's far from being a focus of the show. It seems to me to be an imaginative an engaging work of fantasy fiction which was designed to be that first and foremost. I think if the creator had just wanted to make straight-up loli/shotacon they could and would have, the world and story is not merely an excuse to showcase those things in the way say, ecchi anime is.
Also does no-one else besides me an qaiz have any opinions on this? Did you guys already talk about it last year when I wasn't paying attention?
Last edited:
qaiz
Pokémon Master
It's a shame that you can't change my mind because it would be nice but I'm stubborn, maybe it's a fear of not wanting to lose my values, maybe I'm a little proud of my resolve, one shouldn't let that get in the way of trying out new things however. I think it's good to be able to give things a shot, to sometimes meet in the middle, sometimes I try to but there's topics that I feel too strongly about to feel anything other than disdain at their existence. It is funny how you bring up DBZ, I had written a bit about how the crap in that show pissed me off too but I decided to delete it because I was waffling as is, and don't get me started on Dragon Ball. Some people aren't looking for debate, that's fine, but I think that it'd be boring if we all agreed on everything, discussion can be good even if it ends in a stalemate, who knows, maybe you'll convince me one day, today is not that day. Anyways, I'm off to go watch Devilman Crybaby ;-)
Strangely, I don’t remember Made in Abyss being all that much discussed around here, even while it was airing - possibly because it was an early pick up for HIDIVE and not many people had adopted the service?
Personally, I watched an episode of it, but didn’t feel it was for me. The fact that it was going to ‘get dark’ was both strongly hinted at in the show, and widely proclaimed by folk who’d read the manga, but I didn’t fancy watching it week to week with baited breath while waiting for the penny to drop. I’m sure the show is fine, but I don’t know, I’d need to be in the right frame of mind for that.
Personally, I watched an episode of it, but didn’t feel it was for me. The fact that it was going to ‘get dark’ was both strongly hinted at in the show, and widely proclaimed by folk who’d read the manga, but I didn’t fancy watching it week to week with baited breath while waiting for the penny to drop. I’m sure the show is fine, but I don’t know, I’d need to be in the right frame of mind for that.
Re: Cutie Honey (2004)
Based on what little I'd seen of it, I've been a bit rude about Gainax's three part Cutie Honey reboot in the past, and I'd like to sincerely apologise. With three episodes, each helmed by a different director, it often seems to pull in different directions, but overall, it's very entertaining - I just struggled with the first instalment.
Re:introducing the super-powered, disguise-wearing android in present day (well, 2004) Tokyo, the changes that struck me most are that Honey is now a lonely twenty-something office drone, and, in true Astro Boy fashion, was originally human. Unfortunately, we first find the characters adrift in a sort of colourful onslaught of gags and fanservice.
Not to say I think episode one is without merit; it definitely catches something of the goofy tone and style of the original. Hiroyuki Imaishi directed the segment (presumably straight after Dead Leaves) and it really shows, with madcap character designs, cartoonish environments and many-layered visual gags that refer back to the psychedelic trappings of the original series. Part of me wants to say this is the one that 'gets' Cutie Honey the most, but it's just too much to process all at once. The sugar rush dies down around the half-way point, but it left me oddly cold - it feels like the people having all the fun here are the ones making it.
Episodes 2 and 3 work far better, particularly part two. The series becomes darker in tone as it goes along, but the second part strikes a good balance between shennanigans and something more serious, hitting both a neat thematic callback to Devilman, as an angry mob starts attacking innocent people they believe to be Honey, and getting great mileage from the iconic theme tune as a villain sings it with mocking lyrics to try and flush Honey out of hiding.
The last part builds to a surprisingly epic conclusion, built on some interesting ideas, but it leans too heavily on chief director Hideaki Anno's established show-endings playbook, and doesn't quite sell the hitherto largely absent traditional villain Sister Jill as the key part of its puzzle.
Most surprisingly of all, however, the series's most consistently successful element is actually Natsuko Aki. Honey's schoolgirl friend and possible love interest is here reimagined as a tightly-wound police inspector with a penchant for firearms, finding herself at a loss trying to deal with Tokyo's new superhero. Honey's characterisation is fine, but it's Natsuko who gets all the best development, and frankly, steals the show. It's a bit like turning up to a Superman film and seeing the man of steel upstaged by Jimmy Olsen, but it works.
Whether I like this version more than the 1990s' Shin Cutie Honey, I'm not sure, but it's a strong effort from Gainax in their prime, and the continued lack of any official English-language release, in nearly 15 years, is utterly baffling.
Based on what little I'd seen of it, I've been a bit rude about Gainax's three part Cutie Honey reboot in the past, and I'd like to sincerely apologise. With three episodes, each helmed by a different director, it often seems to pull in different directions, but overall, it's very entertaining - I just struggled with the first instalment.
Re:introducing the super-powered, disguise-wearing android in present day (well, 2004) Tokyo, the changes that struck me most are that Honey is now a lonely twenty-something office drone, and, in true Astro Boy fashion, was originally human. Unfortunately, we first find the characters adrift in a sort of colourful onslaught of gags and fanservice.
Not to say I think episode one is without merit; it definitely catches something of the goofy tone and style of the original. Hiroyuki Imaishi directed the segment (presumably straight after Dead Leaves) and it really shows, with madcap character designs, cartoonish environments and many-layered visual gags that refer back to the psychedelic trappings of the original series. Part of me wants to say this is the one that 'gets' Cutie Honey the most, but it's just too much to process all at once. The sugar rush dies down around the half-way point, but it left me oddly cold - it feels like the people having all the fun here are the ones making it.
Episodes 2 and 3 work far better, particularly part two. The series becomes darker in tone as it goes along, but the second part strikes a good balance between shennanigans and something more serious, hitting both a neat thematic callback to Devilman, as an angry mob starts attacking innocent people they believe to be Honey, and getting great mileage from the iconic theme tune as a villain sings it with mocking lyrics to try and flush Honey out of hiding.
The last part builds to a surprisingly epic conclusion, built on some interesting ideas, but it leans too heavily on chief director Hideaki Anno's established show-endings playbook, and doesn't quite sell the hitherto largely absent traditional villain Sister Jill as the key part of its puzzle.
Most surprisingly of all, however, the series's most consistently successful element is actually Natsuko Aki. Honey's schoolgirl friend and possible love interest is here reimagined as a tightly-wound police inspector with a penchant for firearms, finding herself at a loss trying to deal with Tokyo's new superhero. Honey's characterisation is fine, but it's Natsuko who gets all the best development, and frankly, steals the show. It's a bit like turning up to a Superman film and seeing the man of steel upstaged by Jimmy Olsen, but it works.
Whether I like this version more than the 1990s' Shin Cutie Honey, I'm not sure, but it's a strong effort from Gainax in their prime, and the continued lack of any official English-language release, in nearly 15 years, is utterly baffling.
Last edited:
ayase
State Alchemist
Girls' Last Tour
I went into this show with the expectations of gentle post-apocalyptic slice of life, maybe with a little bit of military equipment fetishism on the side. I did not expect it to get so mono no aware on me.
I notice that as of today I've been posting on AUKN for ten years, on and off. I don't think I'll ever really leave, because I'll always love the medium of animation. But sometimes, mainly during the couple of long absences I've had from AUKN, I question whether anything new is being produced that's really for me. I usually like some of the new stuff that I'm watching, but I so rarely love it like I do some of the shows I first watched around the mid '00s. I often find myself wondering where are the new shows in the vein of Haibane Renmei or Kino's Journey? The shows that made me think and feel, that encourage quiet contemplation?
Well Girls' Last Tour reminded me quite a bit of that kind of show, but by the end it reminded me very much of something else - Yokohama Kaidashi Kikō, my very favourite manga and possibly my favourite piece of media in any genre. When you look at the art styles and you look at the settings, they couldn't appear more different on the surface. Both are post-apocalyptic slice of life, but one is set in a grimy, militarised, claustrophobic and entirely man made urban environment, the other has a sleepy rural setting in which everything humanity has created is being slowly reclaimed by nature. But in terms of themes and atmosphere evoked they are in fact very similar, as are their wistful but generally positive takes on the last days of humanity.
The society and landscape of the future will be unrecognisable to us. Everyone and everything, eventually, is going to die and be forgotten. New people and things and ways of living will replace them. One day, with or without humanity's influence, even the planet itself is going to die. And actually, all of that is okay. The experience of loss, loss of anything - Material items, history, loved ones, is universal and natural and remembrance is something that brings both joy and sadness. But living and experiencing all of this is what it means to be human.
Like YKK, Girls' Last Tour is not a mournful cautionary tale of how humanity destroyed itself or ruined the planet. It's a celebration of the parts of the human experience that transcend the impermanence of that material world. It's affecting, sometimes beautiful and it's very Japanese, or at least very Oriental. I cannot imagine any Western country ever producing media that treats the end of civilisation and humanity in such a thoughtful and non-judgemental way. I think it's fair to say it's restored some of my faith in modern anime a bit. Did I enjoy Made in Abyss and Devilman Crybaby? Yeah, a lot. But neither of them made me sit in silence with slightly wet eyes and a smile on my face afterwards.
Now, I've been the subject of a little light ribbing in the past about my use of perhaps unnecessarily precise nought-point-something scores. But the way I try to look at scoring these days is a percentage out of 100% total running time that I enjoy watching, weighted against the percentage of time I'm not enjoying watching and am either actively annoyed, bored or would generally rather be doing something else. And on that front, this time I don't need a decimal point because Girls' Last Tour gets a rare perfect 10. There is not a minute I didn't enjoy and there is nothing that I would change about it at all.
I went into this show with the expectations of gentle post-apocalyptic slice of life, maybe with a little bit of military equipment fetishism on the side. I did not expect it to get so mono no aware on me.
I notice that as of today I've been posting on AUKN for ten years, on and off. I don't think I'll ever really leave, because I'll always love the medium of animation. But sometimes, mainly during the couple of long absences I've had from AUKN, I question whether anything new is being produced that's really for me. I usually like some of the new stuff that I'm watching, but I so rarely love it like I do some of the shows I first watched around the mid '00s. I often find myself wondering where are the new shows in the vein of Haibane Renmei or Kino's Journey? The shows that made me think and feel, that encourage quiet contemplation?
Well Girls' Last Tour reminded me quite a bit of that kind of show, but by the end it reminded me very much of something else - Yokohama Kaidashi Kikō, my very favourite manga and possibly my favourite piece of media in any genre. When you look at the art styles and you look at the settings, they couldn't appear more different on the surface. Both are post-apocalyptic slice of life, but one is set in a grimy, militarised, claustrophobic and entirely man made urban environment, the other has a sleepy rural setting in which everything humanity has created is being slowly reclaimed by nature. But in terms of themes and atmosphere evoked they are in fact very similar, as are their wistful but generally positive takes on the last days of humanity.
The society and landscape of the future will be unrecognisable to us. Everyone and everything, eventually, is going to die and be forgotten. New people and things and ways of living will replace them. One day, with or without humanity's influence, even the planet itself is going to die. And actually, all of that is okay. The experience of loss, loss of anything - Material items, history, loved ones, is universal and natural and remembrance is something that brings both joy and sadness. But living and experiencing all of this is what it means to be human.
Like YKK, Girls' Last Tour is not a mournful cautionary tale of how humanity destroyed itself or ruined the planet. It's a celebration of the parts of the human experience that transcend the impermanence of that material world. It's affecting, sometimes beautiful and it's very Japanese, or at least very Oriental. I cannot imagine any Western country ever producing media that treats the end of civilisation and humanity in such a thoughtful and non-judgemental way. I think it's fair to say it's restored some of my faith in modern anime a bit. Did I enjoy Made in Abyss and Devilman Crybaby? Yeah, a lot. But neither of them made me sit in silence with slightly wet eyes and a smile on my face afterwards.
Now, I've been the subject of a little light ribbing in the past about my use of perhaps unnecessarily precise nought-point-something scores. But the way I try to look at scoring these days is a percentage out of 100% total running time that I enjoy watching, weighted against the percentage of time I'm not enjoying watching and am either actively annoyed, bored or would generally rather be doing something else. And on that front, this time I don't need a decimal point because Girls' Last Tour gets a rare perfect 10. There is not a minute I didn't enjoy and there is nothing that I would change about it at all.