For a business as manufactured and suspect as the idol industry we sure do see a lot of well-crafted anime surrounding it. Of all the ones I’ve seen I found TheiDOLM@STER to stand above the rest of the pack, bringing together an ensemble of incredibly talented animators to create a work filled with endearing subtlety and tons and tons of engaging vignettes and little narratives. The iDOLM@STER Movie is essentially cut from the same cloth, a continuation of all the little things that made the original series great in an extended feature-length format.
Every time I watch Puella Magi Madoka Magica it reverberates through me for days. It sticks to me aesthetically, thematically and emotionally and refuses to let go. It’s often noted that Madoka is a “dark” series, and in many ways that’s true. It’s filled with loss and tragedy and a hint of existential dread. It acknowledges and understands the struggle of humanity in a troubled world that can’t begin to value all our sacrifices, contained in a universe where the way we think and feel is utterly miniscule. And yet it’s ultimately a tale of hope.
Pokémon Origins is a refreshing slightly grittier take on the Pokémon world, that much is true. Its battles are slightly more violent than the main anime series, its character designs and voice acting are more grounded and mature and generally it fulfils my childhood desire to see a more serious anime about an actual Pokémon game. So for all of that I think this is a pretty cool thing. But on the whole Pokémon Origins is more or less just a serviceable slice of fanservice.
I watched the original Little Witch Academia short way back when it was all the rage and I got plenty out of it. I thought it was cute and fun and engaging, a sign that Studio Trigger was a force to be reckoned with in the industry. But it’s only rewatching it now that I appreciate its craft. It’s an absolute pleasure of a work that almost anyone can find something to appreciate in, and it’s full of all sorts of little details that make that possible.
In the interest of getting enough sleep for Wrestlemania (which begins in the morning in this tragic timezone) I’ve decided to delay today’s article. Instead I figured I would give an update on Funcurve. In light of personal struggles I stopped being able to contribute to the site and eventually moved to just being a guest writer, but before I stopped contributing as an actual writer I did some more articles on the Summer 2016 Anime season. You can find them after the break. Enjoy!
One of the reasons Neon Genesis Evangelion stands as one of anime’s biggest cultural icons is the boldness of its framing and shot composition. Nothing that came before it and very little that came after conveys quite as many things as Evangelion does in the dynamic composition of its space. Most vividly this is seen in the construction of Shinji’s space, cold and distant by default but veering on tense and claustrophobic in moments of conflict. In the first episode of Evangelion alone there’s a lot to pick at in the way Shinji is framed, and we’re going to do just that.
As you may have noticed, this blog has been pretty dead over the last few months. Meanwhile, my content stream for Funcurve has continued and I’ve just neglected posting any of it here. So in the interest of consistency I’ve decided I’ll just post everything I’ve done since then right here. Links to it all can be found after the break.