@Shiebs said in Marvel Movies Thread - Holy Shitballs:
Why does She Hulk have such a low audience score on Rotten Tomatoes?
Cishet men with zero self-esteem are likely sending in negative reviews.
@Shiebs said in Marvel Movies Thread - Holy Shitballs:
Why does She Hulk have such a low audience score on Rotten Tomatoes?
Cishet men with zero self-esteem are likely sending in negative reviews.
Capitalism is evil and the death of the human connection. The idea of letting human create art—about letting them express human feelings and ideas—is a threat to them. Corporations want the machines that they control to make our 'entertainment', so that they don't have to pay artists to create art. They would rather use all our technology to take away the creation of art from humans, so that those artists could be used for the workforce in the service industry, until they are no longer even needed for that. It's the complete opposite of why we as a society worked to advance technology.
Marjorie Taylor Green has introduced a new bill to force detransition teens and take away the right to transition care through insurance. This is attempted genocide.
@Sano said in Marvel Movies Thread - Holy Shitballs:
The outrage is about the She-Hulk post credit scene is just sad. Similar stuff like this happen before in the She-Hulk comics, one moment I remember happens in the first issues of the Dan Slott run.
I'm pretty sure that cishet men are just mad that they can't masturbate to it because the series is actively antagonistic towards shitty cishet men and also otherwise not particularly sexual or erotic enough for decent, normal-people cishet men to be turned on by it.
So yeah, it's really sad.
AI shit is terrible, and everyone involved in using it should be ashamed for putting the work of human beings below the work of machines that lack sentience.
Speaking as, well, someone who is probably certifiably more left-wing than your average poster, I must submit that I agree with the notion that it is wrong to just cut 'Red states' loose, because minorities will suffer as a result. I understand that it's easier for more privileged folks to just write those Red states off, but a significant amount of oppressed people are from those states and unable to simply leave just because conservatives have made those states harder to live in.
I love the Crocks so much. They're so silly but also they're played in these super straight scenarios so it's even funnier. I hope we get more characterization for Artemis and her weird personality remains while she also matures as a character. I really don't have it in me for betrayal or heartbreak right now. lol
I'm betting that Mr. Bones killed The Gambler...but for what exact purpose? I'm willing to be that he was involved in Sylvester's resurrection and that the season will end with Sylvester betraying the team (unwittingly or not) and then sacrificing his life for redemption.
I hope we get to see more of Jennie this season! I really vibe with her and I also love her powers! I want to see where her story goes and if we'll get to see Obsidian and Alan on-screen at all.
Make the polycules canon and then have the X-Men kill god and destroy capitalism.
Yeah, they just create more White Boomer trans people who hate themselves so that they either don't transition and spend their lives writing the most miserable forced feminization shit possible, or they DO transition and wind up being the most miserable, pick-me assholes of all time.
Quite happy to see Yost and Jones will be involved. I wonder if Billy and Izzy will share a dynamic, considering Yost's history with the series as an openly queer actor and Izzy as a character being the first canonically queer character. That would be such a cute dynamic, especially if Billy was canonically made queer as a 'fuck you' to the producers that abused him in the 1990s.
I've never been able to get into Kingdom Come. Putting aside the art being stiff and not flowing well I really don't find the story relatable. McKay isn't a relatable POV and the story just doesn't engage at all with the idea of real world politics. Superman wants to uphold the flawed system, Magog wants to kill because...I don't even recall and Batman is just being Batman. The story feels very much like a strawman. Where are the political group representing oppressed minorities who use violence to obtain political equality? Why would Clark leave behind people like that? Why are younger heroes all portrayed as amoral psychopaths when historically youth have led the movement for violence as a response to fascist states and police? I've really enjoyed how fun Waid's current Batman/Superman series is but Kingdom Come as a work just doesn't work.
@Crossword said in 1049: "Luffy Soars! Revenge On the Beast":
You can see some traces of his current style in his past non-One Piece work (like World Trigger for example) but comparing Ota's Wano output to his Dressrosa and GOLD cuts he's like a completely different animator now. Also props to the composite/color design; they nailed a great balance of being just flashy and over-the-top enough with the colors while still remembering that cold colors exist too. It was also nice to see Tomita employ his signature pitch-black shading from before Wano earlier in the episode when Yamato and Kaido were fighting that has all but disappeared lately.
Suzuki is usually not the most creative of the directors so I was pleasantly surprised at how he buffed up Yamato's short flashback. There was a lot more CG dragon in this episode than I was expecting and there's even more in the preview but I don't blame the animators for throwing their hands up in the air and going "Fuck that!"
Ota Akihiro is taking inspiration from Miyamoto Takuji and his senior, Oohira Shinya. Oohira in particular pioneered that loose, sketchy look to his animation and it's definitely begun to spread across the industry almost like Kanada Yoshinori did. https://www.sakugabooru.com/post/show/49343
It's funny, I had started re-watching his earlier entries in this series this week and was part way through the video for the Eighth Doctor when this dropped. It's such a good series, really capturing the zeitgeist of the politics and fan energy around the series at the time of each Doctor's broadcast. This latest part does such a great job of really nailing the emotion of these episodes, too. I'm beginning to wonder how things would have worked out if Matt Smith had done an extra year and what we could have gotten.
Another Fujimoto one-shot.
https://mangaplus.shueisha.co.jp/viewer/1013145
This was my first time reading something by Fujimoto (my bestie couldn't believe this). Anyway, holy fucking shit, this had me crying the whole way through. I totally understood how Yuuta felt about Eri, I've been there, and the way the entire story was staged just made it so much more intimate. Those POV shots of Eri just watching movies and then looking back at Yuuta killed me. So, so, so, so true to life.
I really need to read Fujimoto's other work.
Apparently Marvel is run by asshole middle-aged men who hate them together.
It throughs me for such a loops how this series has taken common-sounding phrases like 'on program', 'one way out' and 'I can't swim' and made them so damned powerful through their repetition. It reminds me a lot of how Anno Hideaki uses visual repetition in Evangelion.
Music placement is really important and unfortunately I don't think directors and sound directors are always very good at it. I believe Toei Animation has in recent decades expected their storyboarders and directors to figure out music placement on their own which can be a real weakness if they aren't trained to understand how to direct sound and not just animation.
I'm not reading Marvel Comics stuff but everything I am hearing about this Spider-Man arc screams "I hate my wife and kids" about the writer and editorial.
It's a terrible shame. I know exactly what it's like to want to cross that line, so I have nothing but sympathy for where Frank was. RIP.
Sagisu Shirou is the superior composer. The issue with the One Piece cartoon is that it has two composers with two clashing styles: the legendary Tanaka Kouhei (Top o Nerae!, G Gundam and Gundam 08th MS Team) and Hamaguchi Shirou. Tanaka's style is the one most everyone loves and remembers One Piece for (his music is mostly present early on in the series). Hamaguchi's stuff is more bland. From there the sound effects are Arai Hidenori, who did the sound effects for Dragon Ball up until Dragon Ball Super.
With the 2012 JoJo cartoon what everyone loves is the sound work of Sound Director Iwanami Yoshikazu. Iwanami has a really unique sound that nobody else yet has mimicked and now Iwanami is employing it in the other series that they work on, like Sword Art Online. It's a really visceral style, so much so that even indie filmmakers are beginning to copy it:
@Nectar said in Western Comics thread:
Superman's main title restarted at #1 again. Was never an avid Man Of Steel reader, but I'm loving this run so far. The art's great and the story's intriguing.
I suggest also checking out the current Action Comics and Adventures of Superman. The Super-Family books are on fire lately.
While the first movie was being filmed in Australia and schedule was running over the production of the second season had to continue, so Saban sent a crew of Australia to film the Ranger acts and Bulk & Skull for the The Wedding Parts 1-3 and Return of the Green Ranger Parts 1-3. Suit actors filmed the Rangers in the US for scenes during The Wedding, so there wasn't really any civilian fighting for the Rangers in that three-parter. In Return of the Green Ranger not only was Jason David Frank pulling double-duty by playing Tommy but he also played Tommy's clone. In addition, Return of the Green Ranger Part 1 Frank performed a really well-shot battle scene against a Putty Squadron that still kicks ass to this day.
There's a brief shot at 9:40 into the episode that has a nice camera sweep but the real shot of the episode begins at 10:50 as the cinematorgrapher somehow manages to keep up with Frank and the stunt team as they quickly kick the shit out of one another. It's a beautiful ten second-long shot that leaves me mesmerized in how it moves but also in how it captures the performers. The zooming in-and-out is expertly guided.
The production crew for this episode is also of note.
1st Assistant Director: Paul Schrier (also plays Bulk)
2nd Unit Director: Koichi Sakamoto (future episode director, Toei stunt actor turned stunt director)
2nd Assistant Director: Jason Narvy (also plays Skull)
So, the expert guiding of the camera during the action scenes is thanks in large part to Sakamoto's directing, it would appear. We can also see two of the actors themselves dipping into learning the ropes of directing. In later season Schrier and Narvy would direct episodes themselves. All six of the episodes shot in Australia are directed by Executive Producer Shuki Levy (Levy's a POS wifebeater though so fuck that guy).
The filler is mostly skippable and the major moments of the series aren't getting done any better. Lest you give Matsumoto Norio three times as much time as before you're not going to be getting better than what he did for Rock Lee versus Gaara in the 2002 series. Tsuru, Matsumoto, Wakabayashi and Yamashita aren't going to have their episodes so easily topped.
We already got the closest to feasible 'prestige series format' for Naruto. Lest you do a radical story changing remake in a totally different format you're not going to do better, you're going to wind up with another lifeless remake that pales in comparison to the original like Hunter x Hunter 2011.
Brandon Routh was really inexperienced and had to channel Christopher Reeve on his film. I felt like her performance as Superman improved dramatically when he got to stretch a bit more for Crisis on Infinite Earths.
@Cockycent said in Bleach Discussion █: Soul Society, but not!:
Original Gotei 13 by Kubo
Tag yourself I'm the girl with the glasses on the far left!
I am once again thinking about this investigative and filmmaking masterpiece. I might just need to do a third viewing of it tonight. The message that the film sends is just so beautiful and true. I'm so glad that Alexander Lasarenko's name was discovered because it's a crying shame that it even had to be researched like this. This information should be bold, upfront and in our faces.
That would be cool. Perhaps the original Gotei 13 would serve as the enemy's forces? That would make for the most likely answer.
@pariston_hill said in My Hero Academia II - A true Hero:
I even disagree that Hori ever tried to portray any real sentiment of discrimination, I won't deny the left some bread crumbs that never got addressed in any meaningful or serious way.
To bring it back at this point is basically..."wait what was Spinner's origin story? OH mutant racism...fuck I never went anywhere with it did I? Welp better pull something for it's 4-5 chapters that can't be interpreted as a direct critic of racism in JP society."
I was not a fan of what he did to the only canonically transgender woman in the series, nor am I a fan of how he portrays the only canonically bisexual woman in the series, either. The guy has clearly bought into the idea that marginalized people should work within the corrupt system that wants them dead unless they tow the party line and that is historically not helpful.
@Shiebs said in Marvel Movies Thread - Holy Shitballs:
The new trailer for The Marvels is the most disliked MCU trailer of all time
Because of course it is
The misogyny that exists in fandom spaces is simultaneously pathetically hilarious and scary.
@Seafarer33 said in Chainsaw-man:
@JulieYBM said in Chainsaw-man:
Denji is the dumbest, most useless lesbian I have ever known and I love her
I'd be curious to hear your perspective on this. Is it based solely on his behaviour with Asa, or the way he relates to women in general ?
Random musings: what's with Denji's teeth, by the way ? It makes him more expressive to us readers and shows his fiendish nature, but are they really supposed to look pointy to other humans ? That should give him away instantly to devil hunters, or closer to us, Yoru.
This is kind of a complicated feeling to really describe and a lot of other scholars have written about Sapphic relationships before who have done a far better job of really nailing it. When I was recently marathoning Part 1 of the comic I found the vibes of Denji's character really reminding me of how a lot of women just have this deep, personal bond with the women they love that goes beyond what I'd call the usual 'horny shounen protagonist' cliché. Fujimoto tends to write their protagonists with really eloquent, separate from sexual but very passionate love for the women in their lives. We see this similarly in Goodbye Eri where the protagonist wants to capture the women in his life on film so as to remember them forever in a way that doesn't hurt.
When we see the women of Fujimoto works we typically see them through the eyes of the 'male' protagonist who very much does not think of these women in the way a typical shounen protagonist would. Denji's relationships with Reze and Makima were strikingly only 'sexual' in the way a bond between two women would be if they poured their hearts out to one another. This isn't to say Denji doesn't like boobs, just that what really made the bonds with Reze and Makima so striking was not the boobs. The Denji and Reze bond reminded me a lot of how my last girlfriend and I would just spend 3-4 hours a night on the phone with one another talking about anything.
Makima taught Denji that lewd stuff felt better if the partners knew each other deeply and that's been a continuing theme across the whole series. Denji's relationship with Makima strikes me more like a relationship between two Sapphics, with Denji being something of a transbian puppy-play bottom for Makima. With Reze it was almost as if Denji was being invited to leave her mistress for another.
Then there's Quanxi, who is literally, canonically a woman-loving-woman and who Fujimoto draws two fully nude sex scenes between her and her polycule in a way that feels sexy and erotic but not in a way that feels like its excluding the female gaze and only focused on a 'male gaze'.
Fujimoto has previously drawn gender bender manga as well as pretended to be his own little sister on Twitter. A lot of these details scream to me 'egg' (trans person who doesn't know they're trans yet) but it's not really polite to poke eggs like that, so I try not to just come right out and say "Yeah so I'm pretty sure Chainsaw Man is so fucking gay because Fujimoto is a trans woman and as a result I give the comic a lot of leeway."
Denji just reminds me so, so, so fucking much of an eggy transbian who relates to women in the same way women-loving-women do but performs stereotypical 'masculine' sexual behaviors (like loudly talking about wanting to touch boobs) so as to not come across as anything but a man. Well, not that Sapphics don't like touching boobs.
Oh hey, a cameo from my state! And the weather girl is so cute!
UNOMAMA
UNOMAMA
UNOMAMA
I was crying by the end of the A-Part of Episode #10. That music placement was so good.
The thing with Matis' Raichu was that he evolved his Raichu before he taught them any speed-moves. With Satoshi's Hitokage the issue was that Satoshi wasn't experienced enough to handle training a powerful Pokemon that had been traded. It was an in-universe depiction of the sale rule from the games. It was only after Satoshi nursed Lizardon back to health that Satoshi earned his respect.
Speaking of which, here's Writer Tomioka Atsuhiro's comments on "Lizardon! I Choose You!" https://dogasu.bulbagarden.net/features/memorial_book_orange_islands_screenwriters_comments.html
"In every episode I write, having the main Pokémon use a special attack that hadn't appeared in the TV series before is a Tomioka Promise. This time, we get "Dragon Rage." Feel warm inside at the men's oath taken by Satoshi and Lizardon!"
Getting to see Sasuke be worried about his marriage is really nice. It reminds me a lot of the unstated parts of his relationship with Sakura in Part I of the original comic, especially considering how often he would specifically try to look cool in front of Sakura. It really does a lot of the heavy-lifting in giving him a more relatable character.
@Razh said in Bleach Discussion █: Soul Society, but not!:
That would definitely be an interesting spin on the whole zombie slave abuse. Leave it to Kubo to spend time on nedlessly deranged stuff like that and on the other hand end the manga with one of the most boring final fights ever seen.
It's so kinky, I love it. I just want more focus on them, they're great.
Two years without a break probably fucked him up for life. Yikes.
@pariston_hill said in My Hero Academia II - A true Hero:
@Johnny-B-Decent I guess it depends from mangaka to mangaka Toriyama went the full DB without a break, Araki only took his first break after 10 years, and from Part I-IV he only took 6 breaks. Osamu never took a break in Kochikame's 40 years.
And there's mangaka labour rights champion Togashi, and his "followers" such as Hiroe and Hirano.
Toriyama got a 20 day vacation at one point, according to the author note for Volume #16. https://www.kanzenshuu.com/manga/tankobon/vol-16/
Not like it really helped. Toriyama now can no longer use physical ink to draw because he breaks out in hives due to how long he did a weekly serialization.
@zeltrax225 said in Pokemon Anime (Sun & Moon + Generations):
@JulieYBM out of curiousity, seeing as you follow the anime closely, which is your favourite season and which trio/quartet do you enjoy the most?
This is kind of a tough one to answer because there are so many good things that I like any about many of the series. I think that my overall favorite series is probably Sun & Moon, which I think really hits that emotional core in its scripts thanks to Matsui Aya's oversight as head writer (she took over for Tomioka Atsuhiro after he had held the role for DP, BW and XY). Sun & Moon has gorgeous animation and is a series wholly dedicated to heart and gags, which is a major breath of fresh air after XY was so dedicated to battles. The themes of family and exploring death (there's, like, three episodes where characters have to face the inevitability of death, which is nuts for this franchise) in so many episodes also sets it heavily apart from previous series, which were a lot more Star Trek: The Next Generation to Sun & Moon's Deep Space Nine. The 'stationary' aspect of the series and the large cast of characters always meant that there was a different type of story going on. Sun & Moon also has the best tournament in a lot of ways.
The whole cast gets to participate and end their storylines in a climatic final battle with their partner Pokemon and the strategies are really inventive. Even if some of the animation doesn't match the levels of Satoshi vs Shouta and Satoshi versus Alan from XY they're really fun climaxes to the series. Satoshi vs Kukui is also the first four episode-long battle in the franchise, usurping Satoshi vs Shinji (DP #186-188) as the first three episode-long battle of the franchise. Kukui being such a central, father figure across Sun & Moon really adds gravitas to his battle with Satoshi.
My favorite episode of Sun & Moon isn't even a battle-centric episode! Episode #59: "Mao and Suiren: Bittersweet Memories!" is a genius episode with gorgeous animation overseen by two of the franchise's young ace animators at the time: Nishitani Yasushi and Akiyama Yasuhiko. Nishitani, Akiyama and Episode Director Kodaira Maki really bring themselves to adapting the script by Miyata Yuki. It's such a soft and Sapphic episode about how Suiren and Mao meet and there's a lot of attention paid to the character acting.
The battles of Sun & Moon are still pretty fun but you can tell the real thrust of the series is in the gag and character episodes.
When I think about what series really started the revolution of the steady powering up the Anipoke franchise underwent I think of Diamond & Pearl. The original 1997 series wasn't very concerned with its battles and while Advanced Generation started to shift those winds a little I feel like it was Diamond & Pearl that full-on saw the maturation of a Caterpie into a Butterfree, to use an analogy.
Starting with Diamond & Pearl Tomioka Atsuhiro took over the role of head writer (which had been officially vacant since Shudou Takeshi left the role with Episode #158 of the 1997-2002 series) and began to revolutionize the series. Throughout the original series Tomioka (despite being the youngest writer) had slowly built himself up as being the writer who tackled major battle episodes. For example, Tomioka wrote the franchise's first two-episode long battle (which was also the first Six vs Six Full Battle) in Episode #113: "Winners' Cup! Full Battle 6 VS 6!!" and Episode #114: "The Final Battle! Enter Kairyu!!" Tomioka continued this by handling further major battles, like Satoshi versus Shigeru and Satoshi versus Hazuki in the Jouto League. Advanced Generation saw Tomioka mostly focusing on the newly introduced Pokemon Contest concept and writing most of the episodes centered on Haruka and the Pokemon Contests she was entering. Those are were we could really see Tomioka's hallmark traits begin to grow: Tomioka wrote exciting character interactions between Haruka and the rivals she didn't get along with as well as battle strategies that both made use of game mechanics and then made use of real world physics not possible in the games.
I mentioned AG because I feel like it's a perfect preamble to setting up that DP continued this while also introducing an additional element. While Tomioka was off focusing on the Hou-en and Kantou Pokemon Contests in AG the battle-centric episodes for Satoshi were mostly being handled by other writers. While there were some occasionally exciting moments I never felt like those episodes really caught my attention as much as the Haruka episodes. This—combined with Pokemon's two ace animators (Iwane and Tamagawa) being busy with the Contest episodes—leads to the Satoshi-centric episodes of AG all being quite boring.
Fast-forward to DP and things have changed a bit. Iwane and Tamagawa are still focusing on the Contest episodes for Hikari but there's a lot more planning at the production level to schedule major episodes far enough apart that Iwane and Tamagawa don't have to miss out.
It's sort of hard to describe just how much DP feels like a passion project for Head Writer (Series Kousei/Composition) Tomioka Atsuhiro, Storyboard Artist & Episode Director Asada Yuuji (so much so that they just credited him as a series director for #171-193) and Animation Supervisor Iwane Masaaki. For AG Tomioka wrote 36/193 scripts but for DP he wrote 62/193 scripts, with a specific focus on the gym battles, the rival battles with Shinji, the battle tournaments, the Pokemon Contests, and the Ginga Gang episodes). Asada and Iwane specifically worked on as many Tomioka scripted episodes as possible, especially the further the series got to the end. Because of Iwane's speed and skill as an animator (many solo key animators exist, few can do it well and only Iwane does it constantly) he was not only able to oversee episodes of his own (sometimes working alone, sometimes helping to train a young animator from Studio Cockpit) but also provide action animation for another episode in the animation team rotation. This led to Iwane pumping out a lot of cool battle scenes for the Shin-nou League, because he work work on episodes he was in charge of and then work on other episodes handled by Natsume Kunihiko's team (or Tamagawa Akihiro's team).
DP definitely saw Tomioka up his game as a writer, introducing Satoshi's best rival: Shinji. Shinji clashed with Satoshi because he didn't believe in being friends with Pokemon and essentially trained and acted like a real life competitive player. What Shinji would do wasn't necessarily illegal in-universe but his treatment of his Pokemon and attitude towards Satoshi certainly would make him a 'antagonist' that viewers would love to hate. After the lackluster rivalry with Shigeru in the original series and the lack of a recurring rival in AG Shinji was truly something new and fearsome. He was acknowledged as having traveled to all of the same regions as Satoshi and his battles involved strategies that both made use of the game's mechanics but also things that could be done in real life if Pokemon were real. Furthermore, Shinji didn't just show up to battle Satoshi. The first gym for DP is a four episode arc (Episodes #15-18) and in the very first episode we see Shinji get to have a full episode dedicated to his battle with Gym Leader Hyouta, proving that DP was truly going to be different. While the animation in DP isn't necessarily as high-quality as Sun & Moon's animation the general level of writing, directing and animation is very calculated to "roll with the punches" of the production's limited resources. In this way, with reused animation very much so often coming into play, there's a sort of rhythmic flow to battles, especially when they're handled by Storyboard Artist & Episode Director Asada Yuuji and Iwane Masaaki as animation supervisor and key animator. DP's use of BANK animation (reusable animation, like Pokemon attacks or trainers ordering commands) is next-level, often being employed by Asada and Iwane in such a way that it then gives Iwane extra time and drawings to create original animation for a battle that is more complicated. In this way, battles can become more involved and longer, with Pokemon lasting longer before being defeated. It was a new way to spice up battles after so many of them had been one-shot defeats in the previous two series and I think adds a lot of excitement to those episodes.
Like I said at the beginning of this behemoth post, it's so hard to chose a 'favorite' series because in a lot of ways a lot of the series have their own exciting charm and historical importance to the Anipoke franchise. Sun & Moon has a charming, large cast that all get their own fun focus episodes. Diamond & Pearl is the beginning of the franchise's growth into truly becoming a passion project for the staff and breaking out of the monotany of the first series' dreaded Jouto episodes and boring battles. Hikari is a charming co-protagonist to Satoshi with a fiery drive to become a top Coordinator just like Satoshi wants to win his battles. Shinji becomes the franchise's best rival character by virtue of being an asshole you really love to hate and even gets a character arc that develops him over the series into someone to love to love. DP also made Champion Shirona a recurring character and integral part of Shinji and Satoshi's development, as well as introducing the concept of the Champion League: a League you can only enter after winning the regional League. The number of multi-part story arcs handled by a single writer (Tomioka, mostly) expanded and grew with greater cohesion in trying to increase the general quality of the battles and strategies.
I really wish more episodes of DP were subbed. A lot of the major episodes are subbed but some of the early episodes are still left unsubbed, which is a shame. I suggest checking out what has been subbed, especially if they're written by Tomioka or has Asada and Iwane as episode director and animation director/supervisor.
Tomioka Atsuhiro Pokemon Credits: https://pastebin.com/raw/rYgnn1Xg
Asada Yuuji Pokemon Credits: https://pastebin.com/raw/gNjy7Jqd
Iwane Masaaki Pokemon Credits: https://pastebin.com/raw/S3V282yn
EDIT: With regards to Best Wishes: while I wish that the staff had been allowed to continue on from DP and have Satoshi enter the Champion League I honestly don't hold it against them that he wasn't able to. They had to roll with the punches and I personally found the battles to be a lot of fun. Even Satoshi acting like an idiot was funny.
XY is pretty bland, IMO. I think Alan deserved to win the Kalos League, so I never really understood the backlash against Satoshi losing since Alan had such a strong build up to his victory. DP and BW have Satoshi lose the League in very clear "We're being handcuffed here, don't kill us" ways. With Alan Satoshi just straight up lost to a trainer with a better reason to win.
I think Tanaka's episode is still my favorite but every episode definitely had a nice feeling to it. With the way the endings of each episode were handled it felt like the episodes were meant to be connected together as a singular film, so I have to wonder how intentional that way.
I'm hoping they wait until they can just animated the rest of Part I together as a single season without any breaks but I imagine that we'll still be getting two seasons instead of one because of how fucked up the industry is now.
@Dreamer said in Bleach Discussion █: Soul Society, but not!:
@JulieYBM So glad Sagisu is back, Bleach wouldn't be the same without him! The soundtracks this man composes are out of this world.
They're absolutely insane. I love the variety and vastness of his work.
God, this series makes me want to cry sometimes. Nayuta, my precious and perfect daughter.
@pariston_hill said in Bleach Discussion █: Soul Society, but not!:
@JulieYBM Is there any Trans VA working in Japan? Wait, did Kubo ever talked about Gigi? Apparently on extra material to volume.
Trans actors exist, although I'm sure that they aren't being hired for 'mainstream' productions. Still, breaking out the kaba-chan business card would've been nice.
The comic mentions that Gigi is trans in a...well, not exactly pleasant way. Yumechika says that she smells of semen and misgenders her but she's like "lol whatever" and is still treated like a woman by the narrative and the other characters. This has continued into the post-series art, too.
Also, they'r going to be releasing a Gigi figure next March!!!!!!!!!!!!!!!!!!!!! https://www.entertainmentearth.com/product/bleach-giselle-gewelle-relax-time-statue/san88457
Toga is so nuerodivergent. It's pretty relatable, in an abstract manner. She's the autistic kid you know from class who can mask half-decently sometimes but then if she's tired or comfortable the mask will slip and a part of her will show that society will ostracize and traumatize her for. It's a terrible position to be in.
She's also bisexual, so of course she's going to be ostracized for that, too. :|
They should date and kiss and hold hands and get married and have babbies together.
This is probably the closest thing to a decent romantic relationship left in this series. What's more, it's toxic and perverted, but in a sorta sexy way, so it's acceptable lol.
But for fuck's sake, use the word bisexual already, Horikoshi.
They'll figure something out. Frankly, I just hope that they add more Orihime and Ichigo scenes.
I mean, I shipped Nemu and Ishida together even before I found out that she looks like his mom. Afterward, the freak in my just finds it funnier (and hotter), because Ishida is absolutely the kind of guy to want to call Nemu his mommy if they were married.
Also, imagine having fucking MAYURI of all people as your father-in-law? I think Mayuri (as an abusive father left not called-out for his crimes) is completely inappropriate for a kids franchise, but if BLEACH Is just going to be retooled from now on as a franchise for adults then I say go ahead and just full ham with the weird relationship shit lol.
The Mayuri and Nemu cover song for the first Ending is so fucking good, too.
@Satsuki said in My Hero Academia II - A true Hero:
He probably was.
@PatTraverse said in My Hero Academia II - A true Hero:
This series made me truly realize how boring someone having all the powers is. It's funny when someone like Cartman in South Park does it as a parody but it's oh so boring when it's done seriously.
Exactly. That's why writing Superman can be tricky because sometimes he's just TOO damn powerful.
AFO doesn't have much of a personality other than "Mwahaha, I'm evil", either. Shigaraki's a better villain.
Eeeeh, Superman hasn't really had that problem in decades. Writers split their attention between strong foes and moral battles for Clark. Like, it really isn't hard to just create someone who is as strong as Clark. The problem is creating a character with a strong personality to clash with his personality.
I'm still working my way through Otona PreCure, but I enjoy the relatable stuff that the ladies go through as adults now.