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starring-movies · 4 years

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Killing Eve: In Depth Analysis

*SPOILERS*

First Introduction to Villanelle

1x01 - Nice Face

The episode begins with a pre-title sequence in an ice cream shop in Vienna. This is our very first introduction to Villanelle and perfectly sets her character up, as well as the tone of the show.

The first shot we see of her is from behind. She has a brunette wig on that is hiding her natural honey blond hair and wearing clothes, which we soon find out is a disguise from a recent kill. The fact that we do not see her face immediately, but first meet her from the back and in disguise, already shows us her mystery and inaccessibility - something Eve later makes a remark on when describing Villanelle in Season 1 Episode 3. It is also interesting to note the choice to show us Villanelle in disguise as the first introduction to her character. We are being manipulated as an audience in the same way as Villanelle manipulates those around her.

As hair is a big theme in Killing Eve, and could even be seen as a character in its own right, something used to show us Villanelle and Eve’s emotional vulnerability amongst other things. Having Villanelle covering up her natural hair with the wig hints towards the emotional guardedness which we will see she has throughout the series.

In hindsight Villanelle’s casualness of going to have ice cream following what we later find out was completing a kill, illustrates her nonchalance and confidence in her ability as an assassin, as well as her remorselessness for what she does.

In this initial frame she is also shot central and alone, the rest of the characters in the scene aren’t revealed yet, from this we are shown her solitude and isolation from others - which we later see to be true as she has no friends or family. The closest person to her is Konstantin, who never stays to keep her company despite her asking him to before she goes to Tuscany.

The scene draws a number of similarities between Villanelle and the little girl:

- Both are eating bowls of ice cream.

- They are sitting directly opposite and facing each another. (as if mirroring one another)

- They are sat in the same position, their left arm resting on the table with their right hand holding the spoon.

- In the shot of Villanelle shown above, the little girl��s reflection in the dessert cabinet is shown in frame making it look like they’re next to each other.

The parallels of Villanelle to the little girl is an indication to Villanelle’s childish streak, which is a big part of her character and something we see continually throughout the series. It also ties into Villanelle’s journey to find belonging and her desire to find her family after she was left in an orphanage at a young age, which is explored later in Season 3. This is especially evident in Episode 5 of Season 3 where Villanelle’s mother, Tatiana, tells her to clean the tomato paste off her face and says to her “you’re not a child” to which Villanelle replies that she “want[s] to feel like one”.

As the scene continues we watch Villanelle observing the little girl sitting opposite her and she makes an attempt to smile at her. But her smile was not perceived as genuine or with emotion and so is not returned by the girl.

We then watch as the young man behind the counter of the ice cream parlour smiles at the little girl and she returns his smile. Villanelle sees their interaction and observing the young man’s expression mimics it; she smiles with her teeth and eyes this time and the girl connects with Villanelle’s new smile and smiles back.

This interaction, although small, shows us Villanelle’s inability to connect effectively with other people’s emotions. But it also shows her chameleon-like nature and ability to effectively apply the social queues and nuances she sees in her observations of other people’s interactions.

Villanelle then proceeds to clean a spot of blood from her watch, a small detail that indicates there might be something more sinister about her than it seems. She then gets up and leaves the ice cream parlour, knocking the little girl’s ice cream over and giving a smile on her way out.

Perhaps a stretch but the close up of the watch shows that it is an Omega ‘De Ville’. The model name both sounds similar to Villanelle and is reminiscent of Cruella di Vil - known for her cruelty, wealth and fashion - similar to how Villanelle is portrayed.

The knocking over of the ice cream comes as quite a shock for what was previously a fairly mundane scene and subsequently sets up the tone for Villanelle and the series itself, the audience might be expecting one thing but then they get something completely different and surprising. Villanelle’s smile after knocking over the ice cream also serves to show her contrasting personality and specifically the contrast between her seeming childish innocence and cruelty.

This idea of Villanelle’s contrasting personality and the theme of someone’s darkness, which is explored in Villanelle and Eve throughout the show, is also subtly shown through her wardrobe choice. Villanelle is wearing a black and white top, two colours which are complete opposites but are coexisting in this one garment, just as Villanelle’s darkness and light coexists within her (and Eve). However, the top is made from majority black (Villanelle’s darkness) but does have a small bit of white at the shoulders and the middle, indicating the existence of the light in Villanelle and the possibility for her to change, which is something that was explored in Season 3.

This introduction to Villanelle also relates well to the title of the episode, Nice Face. Although the title is taken from a comment Villanelle makes later in the episode when she sees a picture of her next kill, an Italian mafia boss called Cesare Greco, the title is also applicable for Villanelle herself. She is an attractive woman who seems normal and appears to have a ‘nice face’ at surface level, but there is something darker underneath the facade.

The song playing through this scene, ‘Xpectations’ by Unloved, is the perfect choice for our first meeting with Villanelle.

Some lyrics of the song:

“I’ll never live up to your expectations”

“You haven’t a clue who I am”

Both of these lyrics perfectly encapsulates what the whole scene is trying to tell us about Villanelle. She is surprising when you least expect her to be and doesn’t just “live up to” but most likely exceeds any “expectations” that you might have about her. Villanelle is also incredibly unassuming and you’re never quite sure if you’re seeing the real her or just what she wants you to see, a lot of the time we really “haven’t a clue” who she really is.

You can read my following in depth scene analysis of the ‘First Introduction to Eve’ here:

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aaronmaurer · 3 years

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TV I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Was there ever a year more unpredictably tailor-made for peak TV than 2020? Lockdowns/quarantines/stay-at-home orders meant a lot more time at home and the occasion to check out new and old favorites. (I recognize that if you’re lucky enough to have kids or roommates or a S.O., your amount of actual downtime may have been wildly different). While the pandemic resulted in production delays and truncated seasons for many shows, the continued streaming-era trends of limited series and 8-13 episode seasons mean that a lot of great and satisfying storytelling still made its way to the screen. As always, I in no way lay any claims to “best-ness” or completeness – this is just a list of the shows that brought me the most joy and escapism in a tough year and therefore might be worth putting on your radar.

10 Favorites

10. The Right Stuff: Season 1 (Disney+)

As a space program enthusiast, even I had to wonder, does the world really need another retelling of NASA’s early days? Especially since Tom Wolfe’s book has already been adapted as the riveting and iconoclastic Philip Kaufman film of the same name? While some may disagree, I find that this Disney+ series does justify its existence by focusing more on the relationships of the astronauts and their personal lives than the technical science (which may be partially attributable to budget limitations?). The series is kind of like Mad Men but with NASA instead of advertising (and real people, of course), so if that sounds intriguing, I encourage you to give it a whirl.

9. Fargo: Season 4 (FX)

As a big fan of Noah Hawley’s Coen Brothers pastiche/crime anthology series, I was somewhat let down by this latest season. Drawing its influence primarily from the likes of gangster drama Miller’s Crossing – one of the Coens’ least comedic/idiosyncratic efforts – this season is more straightforward than its predecessors and includes a lot of characters and plot-threads that never quite cohere. That said, it is still amongst the year’s most ambitious television with another stacked cast, and the (more-or-less) standalone episode “East/West” is enough to make the season worthwhile.

8. The Last Dance (ESPN)

Ostensibly a 10-episode documentary about the 1990s Chicago Bulls’ sixth and final NBA Championship run, The Last Dance actually broadens that scope to survey the entire history of Michael Jordan and coach Phil Jackson’s careers with the team. Cleverly structured with twin narratives that chart that final season as well as an earlier timeframe, each episode also shifts the spotlight to a different person, which provides focus and variety throughout the series. And frankly, it’s also just an incredible ride to relive the Jordan era and bask in his immeasurable talent and charisma – while also getting a snapshot of his outsized ego and vices (though he had sign-off on everything, so it’s not exactly a warts-and-all telling).

7. The Queen’s Gambit (Netflix)

This miniseries adaptation of the Walter Tevis coming-of-age novel about a chess prodigy and her various addictions is compulsively watchable and avoids the bloat of many other streaming series (both in running time and number of episodes). The 1960s production design is stunning and the performances, including Anya Taylor-Joy in the lead role, are convincing and compelling.

6. The Great: Season 1 (hulu)

Much like his screenplay for The Favourite, Tony McNamara’s series about Catherine the Great rewrites history with a thoroughly modern and irreverent sensibility (see also: Sofia Coppola’s Marie Antoinette). Elle Fanning brings a winning charm and strength to the title role and Nicholas Hoult is riotously entertaining as her absurdly clueless and ribald husband, Emperor Peter III. Its 10-episodes occasionally tilt into repetitiveness, but when the ride is this fun, why complain? Huzzah!

5. Dispatches From Elsewhere (AMC)

A limited (but possibly anthology-to-be?) series from creator/writer/director/actor Jason Segal, Dispatches From Elsewhere is a beautiful and creative affirmation of life and celebration of humanity. The first 9 episodes form a fulfilling and complete arc, while the tenth branches into fourth wall-breaking meta territory, which may be a bridge too far for some (but is certainly ambitious if nothing else). Either way, it’s a movingly realized portrait of honesty, vulnerability and empathy, and I highly recommend visiting whenever it inevitably makes its way to Netflix, or elsewhere…

4. What We Do in the Shadows: Season 2 (FX)

The second season of WWDITS is more self-assured and expansive than the first, extending a premise I loved from its antecedent film – but was skeptical could be sustained – to new and reinvigorated (after)life. Each episode packs plenty of laughs, but for my money, there is no better encapsulation of the series’ potential and Matt Berry’s comic genius than “On The Run,” which guest-stars Mark Hamill and features Laszlo’s alter ego Jackie Daytona, regular human bartender.

3. Ted Lasso: Season 1 (AppleTV+)

Much more than your average fish-out-of-water comedy, Jason Sudeikis’ Ted Lasso is a brilliant tribute to humaneness, decency, emotional intelligence and good coaching – not just on the field. The fact that its backdrop is English Premier League Soccer is just gravy (even if that’s not necessarily represented 100% proficiently). A true surprise and gem of the year.

2. Mrs. America (hulu)

This FX miniseries explores the women’s liberation movement and fight for the Equal Rights Amendment in the 1970s and its opposition by conservative women including Phyllis Schlafly. One of the most ingenious aspects of the series is centering each episode on a different character, which rotates the point of view and helps things from getting same-y. With a slate of directors including Ryan Bowden and Anna Fleck (Half-Nelson, Sugar, Captain Marvel) and an A-List cast including Cate Blanchett, Rose Byrne, Uzo Aduba, Sarah Paulson, Margo Martindale, Tracey Ulman and Elizabeth Banks, its quality is right up there with anything on the big screen. And its message remains (sadly) relevant as ever in our current era.

1. The Good Place: Season 4 (NBC)

It was tempting to omit The Good Place this year or shunt it to a side category since only the final 4 episodes aired in 2020, but that would have been disingenuous. This show is one of my all-time favorites and it ended perfectly. The series finale is a representative mix of absurdist humor and tear-jerking emotion, built on themes of morality, self-improvement, community and humanity. (And this last run of eps also includes a pretty fantastic Timothy Olyphant/Justified quasi-crossover.) Now that the entire series is available to stream on Netflix (or purchase in a nice Blu-ray set), it’s a perfect time to revisit the Good Place, or check it out for the first time if you’ve never had the pleasure.

5 of the Best Things I Caught Up With

Anne With An E (Netflix/CBC)

Another example of classic literature I had no prior knowledge of (see also Little Women and Emma), this Netflix/CBC adaptation of Anne of Green Gables was strongly recommended by several friends so I finally gave it a shot. While this is apparently slightly more grown-up than the source material, it’s not overly grimdark or self-serious but rather humane and heartfelt, expanding the story’s scope to include Black and First Nations peoples in early 1800s Canada, among other identities and themes. It has sadly been canceled, but the three seasons that exist are heart-warming and life-affirming storytelling. Fingers crossed that someday we’ll be gifted with a follow-up movie or two to tie up some of the dangling threads.

Better Call Saul (AMC)

I liked Breaking Bad, but I didn’t have much interest in an extended “Breaking Bad Universe,” as much as I appreciate star Bob Odenkirk’s multitalents. Multiple recommendations and lockdown finally provided me the opportunity to catch up on this prequel series and I’m glad I did. Just as expertly plotted and acted as its predecessor, the series follows Jimmy McGill/Saul Goodman on his own journey to disrepute but really makes it hard not to root for his redemption (even as you know that’s not where this story ends).

Joe Pera Talks With You (Adult Swim)

It’s hard to really describe the deadpan and oddly soothing humor of comedian Joe Pera whose persona, in the series at least, combines something like the earnestness of Mr. Rogers with the calm enthusiasm of Bob Ross. Sharing his knowledge on the likes of how to get the best bite out of your breakfast combo, growing a bean arch and this amazing song “Baba O’Reilly” by the Who – have you heard it?!? – Pera provides arch comfort that remains solidly on the side of sincerity. The surprise special he released during lockdown, “Relaxing Old Footage with Joe Pera,” was a true gift in the middle of a strange and isolated year.

The Mandalorian (Disney+)

One of the few recent Star Wars properties that lives up to its potential, the adventures of Mando and Grogu is a real thrill-ride of a series with outstanding production values (you definitely want to check out the behind-the-scenes documentary series if you haven’t). I personally prefer the first season, appreciating its Western-influenced vibes and somewhat-more-siloed story. The back half of the second season veers a little too much into fan service and video game-y plotting IMHO but still has several excellent episodes on offer, especially the Timothy Olyphant-infused energy of premiere “The Marshall” and stunning cinematography of “The Jedi.” And, you know, Grogu.

The Tick (Amazon Prime)

I’ve been a fan of the Tick since the character’s Fox cartoon and indie comic book days and also loved the short-lived Patrick Warburton series from 2001. I was skeptical about this Amazon Prime reboot, especially upon seeing the pilot episode’s off-putting costumes. Finally gaining access to Prime this year, I decided to catch up and it gets quite good!, especially in Season 2. First, the costumes are upgraded; second, Peter Serafinowicz’s initially shaky characterization improves; and third, it begins to come into its own identity. The only real issue is yet another premature cancellation for the property, meaning Season 2’s tease of interdimensional alien Thrakkorzog will never be fulfilled. 😢

Bonus! 5 More Honorable Mentions:

City So Real (National Geographic)

The Good Lord Bird (Showtime)

How To with John Wilson: Season 1 (HBO)

Kidding: Season 2 (Showtime)

Unbreakable Kimmy Schmidt: Kimmy Vs The Reverend (Netflix)

#tv #television

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reversemoon255 · 4 years

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Gundam Build Divers Re:Rise

So, if you’ve been here a while, you’ll know I’m a big fan of the Build Series. I even like Try, which has actually offended people. No joke. And Re:Rise is no exception, having the best story and characters in the lineup, not to mention some of the more innovative Gunpla. It’s pretty obvious it’s the most beloved of the Build Series by the general public as well as hard-core Gundam fans, and I feel that’s because it leaned more heavily into the Gundam side of things than the Build side, for both its ups and downs.

The Good: The story is very strong, and is able to get away with things that hampered GBF slightly and GBD a lot. It presents it mystical elements forefront and prominently.

In almost every collectibles based series, there is almost always some form of mystical element (a trend made prominent by Yu-Gi-Oh!), and both GBF and GBD lean into this to different degrees. (Actually, one of the reasons I like GBFT is because it’s the only series like this I’ve ever seen that doesn’t have a mystical element.) GBF’s was pretty subtle, being presented early on and only really being used as a motivator for the Chairman and a sad goodbye. GBD leans into it a little harder with Sarah being the main focus of the entire final arc.

GBDR is able to get around this by having the entire focus of the show be about the mystical element, so there’s no conflict between the grounded story and the abnormal additions. Also, it was just, like, really good? And I think part of that is the naivety of the characters. I was able to pick up almost immediately that everything was real, but I read a lot of the YouTube comments after each episode, and a lot of people were convinced it was just a story mission at first, with more and more people catching on as the series progressed. (For me what sealed the deal was Maiya being able to describe Kazami’s character. A supposed NPC being able to nail the personality of a player.) Since they thought it was a game, the stakes seemed low even though we as the audience knew otherwise. And when everything came to light, not only did the stakes immediately skyrocket, but they did so believably. And wanting to help people is always a good motivation.

The animation was very good. It dove at a few points, as is not uncommon, but the overall quality stayed high. There was almost no stock footage apart from the Core Changes. And the number of cameos throughout this season, especially in the last three episodes, were staggering, but were just balanced enough to not overshadow the main cast.

Except for Kyoya’s Cardass Finisher. Like, ok, reference, but it was, like, three minutes long.

All the characters were very good, and I feel part of that was both establishing a detailed past for everyone to help with their motivation and character growth as people, rather than fighters, and not having the main character be the newbie. Reiji, Sekai, and Riku were all new players and had to have plenty of things explained to them, whereas here all of BUILD DiVERS were either experienced fighters or builders, and Freddie, the non-combatant would only require an occasional explanation while he, in turn, explained his world to the players (a very important give-and-take). I also liked how they didn’t need to spell out every detail of Par and Kazami’s pasts. Par never has to explain how he became disabled to the rest of the team, and Kazami never vocalizes about the death of his dad. Sometimes that’s the better way to handle things.

And finally, the Gunpla are FANTASTIC! Look, I know I complain, but there’s a reason I’ve bought 12 Core Gundams, and will probably buy more. Each design in this series is so lovingly crafted. There’s a good balance of series, motif, and gimmick. And Re:Rising Gundam is such a cherry on all of it. Like, I pointed out all those oddities in my Wodom Pod review, but never did I even consider it was part of a combination. And it so encapsulates the themes of coming together this series oozes. I love it.

The Bad: But, of course, nothing is perfect. While I do enjoy the story, what sets the Build Series apart from other Gundams is its levity and light-heartedness, and that’s something that was lacking from this season. It’s not absent. The Space-Crossing Festival, for instance, was a great example of this, but those moments were few and far between. I think Jed dying was the moment I realized I’d have to look at this as a Gundam series and not a Build one. Being afraid for the show’s characters isn’t something I’ve had to worry about with Build. Even when Sarah’s life was on the line at the end of GBD, I knew everything was going to turn out alright. Here, though? Up until the training mission I was worried someone was going to sacrifice themselves. And it’s good that didn’t happen, but that one moment put me on edge for the entire rest of the series.

And it’s not necessarily a bad thing, but it’s something I expect from 00 or Thunderbolt. Not Build.

Already mentioned the animation had its dips. I think I watched the entire show in 720p. Would have preferred 1080. Moving on.

While I don’t have any real issues with the main cast of characters, I do have a few issues with Eve. I’m not the biggest fan of how she retcons a lot of the events of the first season, having this apparent noble sacrifice that completely doesn’t affect the story of GBD at all. And while I don’t mind May being constructed from some of Eve’s data, I wish it was built up at least a bit? I can think of some moments in retrospect where I can suss out that maybe that’s what they were going for, but it still felt very sudden. That could have been handled better.

And while I love this season’s Gunpla, there are simultaneously a lot and not a lot compared to other seasons. Like there’s a lot of releases, but a ton of them are remolds. Twelve Cores, remember? Almost every suit got a remold. The Justice Knight and Infinite Justice, all the Eldoran and non-Eldoran counterpart units, the Valkylander and Ex are the same mold, and all the Core Armors. That’s probably because they used a lot of suits that are more original and are just homages rather than straight remolds, like the Build Strike or 00 Diver, but it’s definitely noticeable.

Where do we go from here: We have an official announcement of a Divers Battlogue, just like with Fighters, and we may get OVAs like the previous seasons did, too, eventually, but I’m talking about beyond that.

After Fighters Battlogue ended, Fighters did, too. We moved on to Build Divers, and from what I can tell it’s been successful, especially this season. My worry is that with the announcement of a Battlogue, we’re also announcing the end of Divers.

Now, I don’t think Build is going away, because it has its own fanbase, and it’s just good from a marketing perspective. Take some old kits, make a few new parts for them, and resell them. What I’m worried is we’re heading to a new subtitle and a new continuity, which would be our FIFTH (Builders, Fighters, Divers, and GBGW). It made sense to end Fighters because they created a seven year time skip to explain how we got to the point of using original Gunpla, they didn’t go over well, and from a writing perspective it put them in a corner. Divers was a good reboot, returning to modified kits, and giving us a protagonist who actually pilots a Gunpla he built himself (three season in). Divers also has a very large mythos at this point, with AIs, and multiple confirmed species of aliens. If you jumped ahead just one more year, you could write a great story where it’s just exploring this inter-species cultural hub that is GBN. That’s what I’d like to see, anyway. If you skipped ahead just a little farther, you could have Asha, Towana, or Hulun return as our Yuma or Par for that season to connect it to the past one. There’s a lot of potential still there. Like, even the ending suggests they might have some more ideas for Eldora yet (whether that will be tackled in a new season, the Battlogue, or an OVA, I don’t know).

You could also return to Build Fighters. Make it take place in that seven-year gap, which would allow you to have Gunpla more on the level of what we saw in GBD (more advanced than GBF, but not at original yet). Or show us the pro circuit at the same time as GBFT and how insane that’s become. (What we see in GBFT is just the Japan’s U-19, and they apparently can’t hold a candle to actual pro players. Can you imagine what Worlds would be like O_O)

There’s just so many new stories they could tell with what already exists. I don’t want them to reboot the series again needlessly.

Also, we’re running out of headliner Gundams. The only obvious choices I don’t think we’ve touched yet are Barbatos, Unicorn, Victory, and Zeta.

As for my hopes for the Battlogue, I’d like to see Maiya and Kazami go on a date, because that would be adorable. I’d like to see Freddie pilot his first Gunpla, because that would be adorable. And I’d like to see the gang teach the village kids how to build Gunpla, because that would be adorable. What can I say? This series got kinda dark; I’d like some cute to balance it out.

Overall, this series was great. Favorite of the Build Series, even if it is a little more Gundam than Build. There’s a lot of potential still left in this universe, so I hope they’ll continue to explore it, rather than reboot the series again.

#Gundam #Gunpla #Gundam Build Divers #Gundam Build Divers Re:Rise #Review

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ordinaryschmuck · 3 years

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Top 20 BEST Animated Series of the 2010s-8th Place

It’s funny. Four years ago, there was no doubt in my mind that this show would easily make the top five best-animated series in the last decade. But the more it went on, the more...controversial it got. However, despite all the hate this next series has been getting recently, I still believe that there’s something to be desired within it.

#8-Steven Universe/Steven Universe: Future (2013-2020)

The Plot: For years, immortal warriors known as the Crystal Gems have been defending the Earth from anything that seeks to do it harm. Until one day when Rose Quartz, the Gems leader, had fallen in love with a human named Greg Universe. From that love, Rose gave up her physical form to bring her son, Steven, into the world she was sworn to protect. Taking guidance from the other Crystal Gems-Garnet, Amethyst, and Pearl-Steven will try his best to grow up into the same warrior that his mom was. But as he learns more about the Gems and his mother, Steven will soon realize that he’ll have to grow up far faster than he thought.

Right out the gate, I should mention there's a 60%-40% chance that you’re either going to love this show or think that it’s pure garbage. And honestly, I believe it all depends on perspective. Like the quality of most shows, the enjoyment depends on the viewpoints you chose to take with it. Some people will look at specific decisions as well done, where others will see it all as a mess of storytelling. For instance, one person can make a two-hour-long video about how Steven Universe is garbage, and another person can make a video arguing about how it isn’t. Everyone has different reasons why they like or hate something. If you genuinely hate Steven Universe or think you might not like it, that's perfectly fine. I just hope you’ll give me the chance to explain why I personally enjoy it, and why I think it deserves all the adulation it has.

For instance, the main thing I really enjoy about Steven Universe is its style. From the designs, to the animation, to even the music. Everything about how Steven Universe both looks and sounds leave me awestruck. First is the show’s designs of both the backgrounds and characters. Nearly every part of the world in the series looks absolutely amazing, fitting seeing how the Crystal Gems fought for Earth due to its beauty. There are also times when lore and backstory can be seen through the backgrounds, giving some fantastic utilization of visual storytelling. Such as when the Crystal Gems visit war zones and temples that they’ve spent years fighting in, showing hidden secrets that can make much more sense by later episodes. As for the character designs, they all look pretty good. Each character has a dynamic and unique style, making them all fun to look at. It’s even better when the character’s personalities are shown throughout their entire designs. I especially love how the artists managed to get creative with how real life crystals (lapices, bismuths, and jaspers) will look like people when designing the Crystal Gems and their enemies. However, I should first mention that Steven Universe is another show where the art style depends on who’s storyboarding the scene. While not as bad as OK KO: Let’s Be Heroes, it can be pretty distracting given how character sizes and proportions are inconsistent. Regardless, I still like how good the designs look for a majority of the characters. And at a practical standpoint, I think it’s great that the artists kept the figures as simple as possible as it makes animating the characters a lot easier.

Speaking of which, I really like how Steven Universe is animated. It’s not entirely groundbreaking like The Amazing World of Gumball’s or as fluid as Wander Over Yonder’s, but the animation in Steven Universe is still pretty dang good. The characters' movements look believable, and the expressions each one makes is downright amazing to see. It gets more aspiring for the show’s fight scenes. You can almost feel each punch, jab, and slash that the characters trade with each other, and the fights themselves are pretty fun to watch. As for the action itself, Steven Universe might just have the most creative action set pieces I’ve seen from any animated series. Case in point, there is an entire fight scene that’s also a fantastic song at the same time.

On the topic of songs, let the record show that showrunner Rebecca Sugar really understands music. I say this because Steven Universe has some really great music in it. From background music to full-on musical numbers, this show proves how important melodies are in a series. Look at the background music, as it not only does a suitable job at making audiences feel the right emotions but also sounds really good when isolated. As for the character motifs, each note perfectly encapsulates the character's personality that it’s meant for. Like Pearl, who has a piano melody to show off her classy and orderly personality, and Peridot, who has a more 8-bit tune to her leitmotif as a way to show off her tech side. And since we branched into talking about 8-bit, there are times when this show’s soundtrack sounds like it belongs in a really cool video game (Google Lion’s and Obsidian's themes if you don’t believe me). As for the actual songs in the show, Steven Universe has a pretty good selection. As they can be beautiful and downright awesome to listen to. And even though the show uses songs to develop the characters and story, these musical numbers can still be pretty fun to listen to on their own, with no context (most of the time).

But while a show's style is essential, it’s the substance that truly matters. And here is where we go back to the discussion of perspective. To some viewers, you might think that the substance in Steven Universe is handled well, where others...Well, I think it’s pretty obvious how they might feel.

Let’s look at the story because Steven Universe actually has an intriguing and compelling story...Or at least it does when it tries to eventually tell that story. Whether you’re a person who either loves or hates the series, everyone can agree that the slice of life episodes are easily the show’s weakest. Personally, I don’t mind them, and that’s because I view these episodes as giving me a choice between eating a chocolate cake or a carrot. The story-driven episodes are a chocolate cake. Their sweet, delicious, and I’m always craving more after just having one piece. As for the slice of life episodes, they’re like carrots. I can eat a carrot. I can digest a carrot. I might even enjoy a carrot. Hell, there are times when I’m willing to ask for another carrot. But if you’re going to give me the decision of a carrot over a chocolate cake, then I’m always going to pick the chocolate cake. Even if I enjoy episodes like “Laser Light Cannon," “Too Short to Ride," and “Alone Together," they can never hold a candle to “Jail Break," “Reunited," and “Change Your Mind." This is because the slice of life episodes give off a sense of distraction from the main story. After all, they rarely add anything new (read: meaningful) to the tale. And going back to the carrot and chocolate cake analogy, there’s one aspect that doesn’t do the slice of life episodes any favors. You see, where most shows feel like you have to eat the carrots before having the chocolate cake, half the time Steven Universe feels like you can skip most of the carrots and go straight for the chocolate cake instead. And Steven Universe isn’t the only show to try this. In fact, tomorrow I’ll be talking about a show that perfected this idea. But tomorrow's series manages to make both the story and slice of life episode the chocolate cake instead of the carrot. And it has everything to do with the fact that the characters care about the situation they’re in. There are actual moments in the show where Crystal Gems refuse to participate in everyday antics because they simply don’t think those antics are worth their time. Which is something you never want to do. Because if the characters don’t care, then why should the audience? Speaking of the characters--

I want it to be known that I like the majority of the characters in Steven Universe. Greg, Connie, Peridot, Amethyst, and Garnet are all enjoyable to watch in their own way. Not only is their development on point, but their personalities are all likable, and their issues are also relatable. It’s three other characters that things get a little iffy. Those characters being Steven, Pearl, Bismuth and Lapis. If you ask me, I like these characters, and I think it’s fun to study/analyze their personalities. However, these characters make decisions that audiences are either going to hate or love. It’s sort of like that optical illusion of the old lady/young lady (Google it). Some people can see the ugly old hag, where others will see the beautiful young woman. You’re most likely going to see one or the other, and it isn’t until someone else points out what you couldn’t notice that you are capable of seeing both. It’s something very similar to Steven, Pearl, Bismuth and Lapis. One response is that you’re either going to see characters who are selfless heroes that are victims of circumstance. The other is seeing toxic idiots who cause more harm than good to the people they love.

And then there are the people of Beach City. These are mostly hated by both fans and critics of the show. Personally, I don’t hate most of them. Don’t get me wrong, characters like Lars and Ronaldo deserve every ounce of hate they are given (Although Lars does get better). As for the rest of the Beach Citizens, I don’t think they are that bad of characters. In fact, I think they’re good characters placed in the wrong show. Some of them have issues that most people deal with (Sadie, in most of her episodes), where others seem to be slightly layered and almost intriguing (Mr. Smiley and Onion in “Future Boy Zoltron” and “Onion Gang”). In fact, if these characters were a part of a different series, I’m sure people will be more willing to watch their struggles. It's just compared to the Crystal Gems and company, the people of Beach City are not as interesting to watch or dissect. And because of this, the show drags down to a screeching halt whenever it focuses on these characters.

And the most controversial element of these characters is (semi-spoilers ahead) when the show tries to pull off redemption arcs. Steven Universe seems to work off the logic that nobody is evil, just misunderstood. There’s both a right way and a wrong way of illustrating that logic, and Steven Universe, unfortunately, does it the wrong way. And the best way for me to describe how to do this idea is to use the game Undertale as an example (I’d warn you about spoilers, but odds are you already know everything about that game). In Undertale, you play a character who fell into an underground prison full of monsters, and you have to find your way back to the surface. The monsters you run into give the impression that they’re dangerous and want to destroy you (or at least most of them do). However, the game allows the player to interact with the world and characters around them, soon discovering that the monsters are more complex than one might think. In fact, the game allows you to actually interact with monsters who tried to kill you, showing the logic and reasoning as to why. By the end of Undertale, you learn that every character you encounter is not the villains in the story, but rather victims of a war that forced them away from the surface. Steven Universe has a similar idea but fails to do it properly. All it reveals is that the villains have done bad things, realize that they’ve done wrong, and decide to have an out of nowhere change of heart by the end. The problem is that except for one character, the turnarounds don’t feel earned. Instead, they feel forced than anything else.

These elements are what make Steven Universe slightly controversial to enjoy.

(And also the ridiculous amount of hiatuses. But that’s not really an issue I have with the show, but the network running it.)

But if there is one thing I hope we all can agree on, both the pessimistic and forgiving, I think it’s safe to say that the best thing about Steven Universe is how important it is for the LGBTQ+ community. There may have been kids' shows in the past that hinted at same-sex relationships and they deserve some respect as well. But I'd say it’s Steven Universe that popularized the idea with the characters Ruby and Saphire. Not only are these two downright adorable together, but they also manage to be enjoyable characters on their own (Even though it isn’t often you see them apart, but their personalities still shine through). And I’m willing to make the argument that it’s because of these two why children’s animation is less afraid, but still cautious, of being explicit with having same-sex couples. Like I said, most shows decide to hint at these relationships, so they don't get in trouble for doing so. Nowadays? Most of Cartoon Network’s series seem to have more gay relationships than most children’s networks in recent memory. Nickelodeon allowed The Loud House to have gay parents in a children's cartoon, and one of the main characters being canonically bisexual. Hell, even Disney is currently taking steps in the right direction with their smash hit called The Owl House. Now, more than ever, kids can learn at an early age that gay relationships are more than just acceptable, but they’re also completely normal and should be accepted as such. And I’m more than willing to give Steven Universe credit for giving this trend the push that it needed, like other creators for these shows usually point fingers at it as well.

Is Steven Universe a perfect show? No. But that doesn’t mean I think it’s garbage. There are some legitimate faults that this series has, some of which I’m inclined to agree with. But with all the good it does and how much fun people have while watching it, I can’t really say I hate this series. If you think you’ll hate this show, you have every right to. I can’t change how you feel, but I can ask you to keep an open mind. Because who knows? You might be someone who will find the diamond in the rough of this series.

(Now that’s a pun you’ll be willing to appreciate by the time you reach season 5).

#top 20 of the 2010s #steven universe #steven universe future #what i thought about

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recentanimenews · 5 years

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The Most Memorable Anime Dance Sequences of All Time!

Anime is an amazing medium because of the way things flow and look on screen, like when action sequences suck us in with amazing animation and quieter scenes can stun with captivating visuals. Perhaps one of the least appreciated parts of anime, though, are the amazing dance sequences that can pop up in our favorite shows and even in their opening and endings. Dance can really be an amazing medium on its own, and with the right animation and music, anime dances can seem almost magical! But which ones are the best? I’ve gathered what I think are the 10 best overall anime dance sequences, and I’m ranking them based on their style, choreography, and their overall ability to stick in our minds. If you’re looking for a new dance to try out with your friends at a cosplay gathering for this year’s con circuit, or maybe you just appreciate a good dance as much as I do, hit the dance floor and get ready to show off some sick moves!

10) Kill Me Baby Ending Dance Sequence

Coming in at number 10, I’ve got the dance from the Kill Me Baby ending theme “The True Secret of Our Feelings.” This unique duet encapsulates the odd mood and style of the series, with a unique blend of comedy that is wholly its own. While it is a unique and quirky dance, that’s the reason I found it so memorable! Seeing this dance at the end of every episode was a great way to cap off any episode, as well as a great little bit of music and dancing that captured what Kill Me Baby was all about: weird, cute comedy! One of the things I really appreciated about this dance was the way that the moves keep specific timing with the beat, which really showed a level of though similar to the sometimes subtle punchlines of the show.

9) Sgt. Frog Ending Dance Sequence

Fittingly at number 9 spot is the 9th ending song of Sgt. Frog, “Spinning, Turning, Once Around!” When this song hit during the anime’s broadcast, it became a huge sensation online, spawning lots of people doing their own group renditions of the dance. At first it might seem like the song is more memorable and catchy than the dance, which is why it’s a bit lower on our list than others, but the dance itself is quite fun and actually very subtle! Much of it is focused on specific, timed movements between a group, and keeping up that manic pace as the song’s tempo increases is part of the fun. The parody videos people have made are almost as entertaining as the original (especially to see how people interpreted Tamama’s entrance into the ending!), so for that reason alone I knew I had to put it on this list.

8) Free - Iwatobi Swim Club-'s Ending Sequence

Free! -Iwatobi Swim Club- certainly made a huge splash (sorry, not sorry) when it hit the scene a few years ago, and people were instantly sucked into the sports and non-sport drama of the swim club boys. But perhaps one of the most memorable parts of the series was it's absolutely off the wall ending sequence, featuring cast members alternating between dancing in a night club and an Arabian themed hunt for an oasis! While some might argue that certain viewers were more interested in the amount of abs on display in the ending, I’ll say that while that was great, the oddball dance sequence and fun visuals of the ending are what really caught our attention. Free! itself seems to have owned up to the silliness of the first ending, as the recent movie had the guys creating a themed recruitment video in something of a fun callback to the original season’s ending visuals. The night club scene was so popular, it even inspired some neat merchandise for fans to buy! And while fans will probably argue over who the best Free! boy is, I have to say that Haru’s hair flipping to the beat in this ending is pretty show stealing!

7) Carnival Phantasm's Opening Dance Sequence

The TYPE-MOON series Fate/Stay Night and Tsukihime have spawned countless fans between all of the various versions of anime spin offs from the original games, but none perhaps captured the madcap silliness the fandom had invented better than the Carnival Phantasm series. A selection of comical shorts featuring characters from both the Fate and Tsukihime series, the show kicked off each episode with a high energy and catchy theme song that was accompanied by the main characters of each series dancing along in time. Seeing Saber, Rin, Arcueid and many others dancing cutely was enough to get this on our list, but the huge group dance scenes in between those really helped cement this one in place. Carnival Phantasm was filled with callbacks to events in both series, their anime, and even long-time in jokes, and the opening copied that as well, with odd little easter eggs for careful viewers to spot. Although Carnival Phantasm never got an official release outside of Japan, the opening song was popular enough to inspire some fan reactions. If you take a look at it, let us know if you can spot the Assassin cut-out…!

6) JoJo's Bizarre Adventure: Diamond is Unbreakable Opening Dance Sequence

As much as I would like to put this next entry on the list with “Koichi pose” and leave it at that, there’s definitely more to be said about this one. Our number 6 spot goes to JoJo’s Bizarre Adventure: Diamond is Unbreakable’s first opening song, “Crazy Noisy Bizarre Town,” featuring cast members dancing along to the song as they introduce themselves. Diamond is Unbreakable really exuded a specific bouncy charm and vibrancy to it that made it different from previous JoJo seasons, and this opening song really helped to sell that mood. Starting off with Josuke, Koichi, Jotaro and Okuyasu on a stage like a boy band, the song kept up that high energy throughout, making it a catchy tune with somewhat even more memorable dance moves. Although it isn’t as thoroughly choreographed as some of our other entries, it would be hard to really forget certain scenes here, and the way it fits the series is a huge plus to us.

5) Blood Blockade Battlefront Ending Dance Sequence

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Blood Blockade Battlefront was a series that dripped style from the way it was animated to the character designs, and the ending theme, “Sugar Song and Bitter Step,” had an amazing segue of dancing scenes that really helped cement that in our minds. Much like Sgt. Frog, the ending of Blood Blockade Battlefront spawned lots of homage videos from fan artists and cosplayers recreating the dance steps with their own unique takes on it. Perhaps one of the most memorable bits of the whole sequence, though, is the way in which it helped sell character interactions and relationships even in the ending song; watching the various ways Zapp interacted with people, for example, or the little cues to season one’s major plot points in various parts was a hidden treat that rewarded keen viewers attention. The song itself matches the jazzy dance steps and costuming as well, making it an overall catchy and fun sequence to watch over and over again!

4) Uta no Prince Sama Ending Dance Sequence

Considering that it’s a series about handsome idols doing amazing song and dance routines, it probably doesn’t surprise you to see Uta no Prince Sama’s “Maji Love 2000%” make it onto our list at number 4. The dance is so fluid and stylish that you could easily see a real idol group easily perform something similar, and the accompanying fan screams during specific moments really made the whole scene amazing. Plus, as the pay off to a tense and dramatic season finale, the whole dance really felt like an amazing reward for viewers to see. I’ll be honest with you all: there are a few scenes in this dance that I enjoy quite a lot, and it probably isn’t hard to figure out why! If you like your idols handsome and with good rhythm, you should consider checking out Uta no Prince Sama!

3) Vegeta's Bingo Dance from Dragon Ball Z: Battle of the Gods

This next dance caught us so off guard when I first saw it that I think you’ll agree it deserves a high place on our list: Vegeta’s bingo dance! First seen in the Dragon Ball Z: Battle of the Gods movie and then again in the Dragon Ball Super anime adaptation of it, Vegeta’s desperate attempt to distract Beerus from destroying Earth was perhaps never so apparent as it was in this madcap dance sequence. Vegeta’s improvisational song and dance are pretty amazing on their own, but perhaps the most memorable thing about them is what it meant for the Dragon Ball series as a whole: a marked shift in Vegeta’s character and personality. Super really focused heavily on Vegeta’s growth early on, letting us see his change from the cold hearted and distant “Prince of all Saiyans” of Dragon Ball Z into a man who, while still surly, really cares for his family and other people enough to throw away his pride and put on a ridiculous dance to save the day. I love Dragon Ball Super and I love Vegeta, and this dance really just put a big bow on why!

2) Torture Dance from JoJo's Bizarre Adventure: Golden Wind

A relative newcomer compared to the rest of the list, our number 2 spot goes to that torture dance scene from JoJo’s Bizarre Adventure: Golden Wind! One of the best things an anime adaptation can do is take things that it’s source material did, and give it a unique spin that only an animated series can do, and David Production really knocked it out of the park with this! Changing a single page set of panels into a minute long visual trip was amazing! It also gave us a little fun insight into the relationships of the Bucciarati gang; we see goofball Narancia start off, only to have the slightly more serious Mista join in, followed by the extremely high strung Fugo working together in perfect harmony as their torture target suffers in the background. The original song, “Canonzi Preferite,” created to go along with the dance is another great touch, as are the trippy visuals between dance steps. It’s a real treat to watch this dance scene over and over again, and it’s something that really helped me find my love for Part 5 immediately!

1) The Melancholy of Haruhi Suzumiya Ending Dance Sequence

If you’ve read this far and asked “Where is it?” you’ve probably already predicted what's in the #1 spot: the famous “Hare Hare Yukai” dance from The Melancholy of Haruhi Suzumiya! It may be hard to imagine that it’s been over 13 years (ohmygod, it’s been THAT LONG?) since this song first hit the anime world like a tidal wave, and it’s dance soon became a convention staple for groups of cosplayers! It’s hard to deny the memories of seeing fan renditions of the dance pop up on the early days of social media, and the enduring popularity of the dance sequence really says all there is to say about why it’s my number one pick. Even if we discounted the history now attached to the dance, it’s hard to argue that there’s a stronger contender on our list; the song is matched perfectly by the movements of the cast, and it gives off an air of natural movement that’s hard to match! Many other dances on our list are broken up by other strings of animation stills or cut aways, Hare Hare Yukai got an entire minute of pure dancing down the line, with impressive choreography considerations for its age. It’s pretty hard to deny: Haruhi is still on top when it comes to dancing!

And there you have it! I hope you enjoyed this collection of amazing anime dance sequences, and if you feel so inclined, maybe you can dance along yourself at home or at your next convention outing. Just remember to limber up, practice, and dance like the blinds are closed; after all, dancing is about having fun, so hit the floor and get to it!

Have a dance that you think should be on this list? Let us know in the comments!

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Nicole is a features and a social video script writer for Crunchyroll. Known for punching dudes in Yakuza games on her Twitch channel while professing her love for Majima. She also has a blog, Figuratively Speaking. Follow her on Twitter: @ellyberries

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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surprisebitch · 7 years

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THOUGHTS ON DANGANRONPA V3 (NOT SPOILER-FREE)

This is not a spoiler-free review so only click Read More or read IF YOU HAVE FINISHED THE GAME.

If not, don’t read this at all and if you’re on mobile, scroll down super quickly and I tagged this as ndrv3, drv3 so don’t complain or say I didn’t warn you.

Anyway, so my thoughts!!!

GAMEPLAY

DRV3 has the superior gameplay objectively out of all the franchise. It feels more polished, refined, and it looks like they really took criticisms from the previous games and improved the gameplay for this.

From the first shooting movement, it’s definitely more suited than the Danganronpa movement style when moving across the academy or map. And how easier it is to get Monocoins now just by shooting all the stuff in every room… It is definitely more reasonable than having to examine everything (EVEN MONITORS) from the previous games which was tedious and a hard way to earn coins just to earn precious gifts. Like now, it is actually possible to give THE BEST PRESENTS for every freetime even from the beginning of the game! I gave EVERYONE THE BEST PRESENT from the beginning. The Hidden Monokuma this time also are nice cause you see them in 3D and around the campus! So yeah, these were nice improvements when it comes to moving.

Now onto the class trials!

Let’s start with the minigames. Hangman’s Gambit is the best here and it’s still challenging. Psyche Taxi was pretty good even though Mind Surfing from DR2 was more challenging and can be frustrating. The classic Rebuttal Showdown was great. Argument Armament had a nice rhythm game mechanics and challenges. I especially love the unique sprite of the character involved in the middle and the transitions to the end.. really builds up nicely and when all their clothes get torn in the end, how dramatic.

But the crown definitely goes to SCRUM DEBATE. Now that was really lit. It was intense and really encapsulated the atmosphere of the debate grounds. It would have been really great if this was a minigame for the previous games but I guess it’s never too late!

Now another aspect of the trial, nonstop debate! I really loved Mass Panic Debate, it added more challenge and the Loud Voices too. I think objectively DRV3 has the most challenging Trials that I hit the Retry screen a number of times haha but I thankfully still got an A grade in all trials (playing in Mean Logic too so).

The LIE BULLET deserves to be singled out though. How lying becomes a necessary thing to do and gets you closer to the truth since every trial is designed where you have to lie once. If you lie more than once, you unlocked the backroute. (I apparently did that for one of the cases though since I found the most logical argument was to lie.) But yeah, it also gives the main story a replay value somehow cause you get to see alternate events unfold if you lie instead of tell the truth or vice versa. And yup, this game DOES involve the theme of lying so I think it was cleverly executed.

Tl;dr:

Gameplay-wise, DRV3 is objectively superiour and the best of the franchise.

CHARACTERS AND OTHER POSITIVE POINTS

Let’s start with the amazing Kaede. God, she would have really been the strongest protagonist and I was soo looking forward to play as her then felt betrayed after chapter 1. BTW, the strongest chapter 1 of the series.. really started this game off with a BANG and lots of tears. It was suspicious though how she already started strong when Makoto and Hajime weren’t as strong as Kaede so RED FLAGS there. But I didn’t like chapter 1 and I will get more into that later.

Shuichi had amazing development though and watching him evolve redeemed chapter 1 so it was justified. EVEN THOUGH we find out later Kaede was wrongfully executed ugh.

All the executions in V3 are absolutely brutal. I think V3 has the worst executions in the franchise. All of them were torturous while other games had fast death executions. V3 didn’t spare you from seeing the characters suffer an agonizing death so yeah it did have a lot of impact especially since many of the characters except Kiyo died unfairly and brutally. The Kaito plot twist was amazing though and I’m glad we got to see a character not suffer.

I think it really conveyed how twisted watching such a game can be. But then again, it would have been better if they didn’t remind us it was fiction even though we know it is.

Personally, I think V3 has the strongest cast because everybody had strong character development including the survivors.

Before everyone was sent off, we all got to see their talents and how their characters evolve. Also how unlikely the survivors are here.. I totally didn’t expect Himiko and Kibo to survive. I did get Maki and Shuichi though since Maki was like a deadly Kirigiri.

I ended up loving so many students. Kirumi is best girl though. Of course, there’s Miu too and Maki. AND GONTA AND KAITO ARE MY HUSBANDS. And you end up loving the rest in their own way.

tl;dr:

V3 definitely has the strongest cast but couldve gotten a strong protagonist and I can go on and on why but for the previous DR games, there were characters I didn’t like but for V3, I loved everybody even the twisted ones cause like they really were interesting fascinating characters haha

SOUNDTRACK

Amazing.. A+

Nothing else to be said. Phenomenal. So let’s go with the Ending

CHAPTER 1 AND ENDING AND STORY CRITIQUE

I honestly wish that they made Kaede stick around longer til chapter 5 at least then protag switch. Kaede had sooo much potential to be the most complex character. chapter 1 was messily executed imo (pun intended) and was just done for shock value on the get go imo. It would have been more impactful if we actually lost her towards the end of the game and been a different formula. In all DRs, the most advertised and significant character died on the 1st chapter and V3 isn’t an exception except for the fact it was a protagonist switch. I still think the switch could’ve been happened later.

I think the whole meta plot twist was brilliant. THAT BEING SAID, it could have been executed differently but still conveyed the intended message and the philosophy of Danganronpa.

So, in the end we find out that this Killing Game was orchestrated by the real world and Tsumugi is the mastermind of this game. Okay, so let’s talk about Tsumugi first. I honestly think that Tsumugi as a mastermind was clever.. who would have expected the Plain Jane of the class will be the mastermind; it is a totally danganronpa plot twist but at the same time the iconic Junko makes an appearance thanks to her ultimate talent as a cosplayer.

I liked Tsumugi as a mastermind but I didn’t like how it was executed (no pun intended). If she actually had development, she would’ve not ended up being one of the least fave characters in the polls. I liked her motive though and it was really sinister but she was such a background character. i wish we actually saw her play a significant role throughout the game. She has a really cute character design so in my opinion, she’s a strong mastermind. Junko was flashy and sexy and out of the class whereas Tsumugi was still sexy but presented herself as ordinary and is a “survivor” since her talent makes her extraordinary so YES I think Tsumugi as the mastermind is perfect but it would’ve been better to see her play an active role throughout the game.

It was also clever that DR would mislead us with Kokichi who I think is one of the best characters in the franchise alongside Komaeda. I was fooled into thinking he really was the mastermind with his lies! BUT THEN I REMEMBERED, this is Danganronpa and there will ALWAYS BE PLOT TWISTS, it’s not that easy and I was right but I didn’t know how to explain it. Actually, I thought it was Kaito who I love btw cause he was suspicious and it turned out that it was neither of them and they worked together in the end. Chapter 5 of SDR2 and V3 are definitely iconic chapters in the franchise. So back to Kokichi.. I think it was brilliant writing with no continuity errors that he ended up being the dark knight of this game or the unlikely good guy when he always presented himself as a villain. I must admit I hated Kokichi especially after Chapter 4 when he sacrificed Gonta but then Kokichi really had no choice, who else could’ve killed Miu (RIP btw, I also really loved Miu). And while I was angry that Kokichi said he was fake crying for Gonta.. after the ending and his dying words, I can see that he was just using his lies to mask his thoughts and he really hated this killing game. So yes, Kokichi was manipulative and deceitful but this game proved that such a character can end up being the “good guy” here since his ultimate goal was to lure the mastermind out through the killing game and even confuse the mastermind.

So I kinda got off a tangent I know so lets go BACK to the ending. I think the weakest point of the ending is the fiction aspect. I feel like that was totally unnecessary and the message of Danganronpa could have been portrayed if they just went meta, we were the audience, and said that the universe of V3 isn’t fiction. It would have been more effective cause we would have felt more sympathy for the characters playing this twisted game and they could still end the game by not voting at all and having the canon no hope or despair ending. We would have gotten the message and the philosophy while making the rest of the Danganronpa including V3 matter. Sure WE KNOW they are fiction but we didn’t have to be reminded especially for 3+ hours since the trial lasted 6-8 hours gosh.. It was really tedious and LOOONG.

Presenting Danganronpa as fiction makes everything seem meaningless and I feel that’s why the ending was very polarizing. I feel that if they left Fiction out and just went Meta that everyone in the Killing Game is us then that would have better conveyed the message without leaving a sour taste about the significance of the previous games cause many felt that everything was a lie and meaningless even when Team DR didn’t intend it since they wanted to critique violence in media and how twisted enjoying playing games such as DR. Personally, i am rooting for Hope everytime but i see now how hope and despair will not end the cycle of this killing game so i love how neither hope nor despair ended it.

So yes, I love that the contestants were fans and wanted to be part of the Killing Game. It was a smart plot twist and could be satirical since who knows if there are really players out there who’d have the mentality of the students. So yeah, the whole Killing Game being orchestrated by an audience would have been brilliant. I just hope that they blurred the idea it’s fictional and made Danganronpa seem real cause yes we know it’s fiction but we play this game for escapism and the thrill. We didn’t have to be reminded of it and we WOULD STILL GRASP the message.

After all is said, I really love the mastermind’s motive and plot twist of this game. It’s a satire to consumerism.. Supply and demand was such an important concept here. True, Tsumugi just saw life as a way to satisfy demand but i think it was so despairful cause WE ARE THE MASTERMINDS.. us playing Danganronpa, we play for the thrill even though our intentions are different.

Personally i played to see Hope triumph over Despair. and Tsumugi and the whole ending made us see that even rooting for hope wont end the killing game. And it was so twisted cause Tsumugi was a representation of the irony behind Danganronpa. It was awful true but at the end of the day, she represents team Danganronpa and we love that game so yeah it was so meta. Hard fact but Tsumugi’s motive was strong and makes you ponder. (but AGAIN, i wish she had a more explicit active role throughout the story)

Tl;dr:

So did I love it or hate it? I loved that it had a self-aware message but it could have been executed better (no pun intended. damn im sorry). It is a strong installment in the franchise but it is not without flaws. Protagonist switch would’ve been better in chapter 4 or 5. That being said, I loved most aspects of it but I dislike how they tried to layer so many things onto each other that it ended up being convoluted. I feel that if they just said that the V3 universe was real and left fiction out of the picture, we still would have grasped the message. They should have just left DR1 and DR2 as fictional in the V3 universe while the Killing Games in V3 are reality. And I feel with that clarified, the ending would have been less confusing.

Nevertheless, I love how the ending didnt follow Hope winning over Despair and was a completely different ending. And yes, Tsumugi as a mastermind was amazing.. totally despairful and has a strong message. But yet again, the story could have been reworked and delivered more strongly.

However, the entire ending could have been a lie right? I mean the game's theme is Lie vs. Truth so who knows what really was the truth or not? I guess we’ll find out if we get another Danganronpa game… because at the end of the day, Supply and Demand!

How about you? What are your thoughts? Reply to this post if you wanna share!

#drv3 #danganronpa #new danganronpa v3 #ndrv3 #v3 #spoiler #spoilers #long post

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theconservativebrief · 6 years

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Aretha Franklin was a riveting live performer, which is why so many retrospectives of her career have focused on her ability to wring intense emotion from essentially any song in existence, especially when she was in front of an audience.

But Franklin made a lot of classic records, and those classic records were used by movies and TV — over and over again, in the case of her most famous tune.

And there was good reason for this. Whether you wanted to infuse a scene with triumph at someone standing up to the forces of adversity (via “Think” or “Respect”) or rich melancholy (via “You Make Me Feel Like a Natural Woman” or “One Step Ahead”), Franklin’s music was right there, ready to provide the perfect punctuation mark to any scene.

But the use of Franklin’s music also serves as an inadvertent roadmap through nearly 40 years of Hollywood history, in which the stories of black Americans went from the margins of stories about white Americans toward the center. They might both be great scenes, but watching Franklin’s tunes play under romantic reconciliations in 1983’s The Big Chill and 2016’s Moonlight underlines big changes within the industry.

Here, then, are seven iconic Franklin moments from movies and TV — plus a celebration of the Franklin song used more than any other.

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Aretha Franklin didn’t make tons of on-screen appearances in fictional contexts, much less as characters other than “Aretha Franklin.” But it would be impossible to talk about her legacy in film and television without touching on her immortal appearance as a diner waitress in this 1980 movie musical.

Given its origins as a Saturday Night Live sketch, The Blues Brothers seems like it might be satirical, but the affection the movie feels for some of the greatest music ever made is real. That translates in a sequence where Franklin bursts into a version of her 1968 hit “Think,” an entire diner of people joining her in the sort of elaborately choreographed number only the movies could provide.

Lawrence Kasdan’s terrific 1983 movie about the quiet sorrows of a group of baby boomers mourning a dead friend was one of the earliest examples of a film scored by pop hits from the ’50s and ’60s. The trend would eventually rampage out of control in years to come, but The Big Chill set the standard — and the standard included at least one song by Aretha Franklin. In Big Chill, that’s “You Make Me Feel Like a Natural Woman,” which plays over a romantic interlude and underscores the movie’s core theme of rediscovering the vulnerability and emotional connection you felt when you were younger, then reintroducing your adult self to it.

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The CBS sitcom about a journalist returning to work after a long, public battle with alcoholism used the music of Motown as a way to let Murphy Brown express emotions she might otherwise hold inside. (Does Hollywood use the music of Aretha Franklin, a black woman, solely to help emotionally repressed white people better express themselves? It kinda did in the ’80s!) Perhaps the series’ best use of Franklin came in its pilot, when star Candice Bergen sings along to “Natural Woman” in what she thinks is a moment of privacy. But the show would raid Franklin’s catalog frequently, culminating in a fourth-season appearance by the Queen of Soul, in which she shushed Murphy when she tried to sing along.

The soundtrack for Martin Scorsese’s Goodfellas is a feast for the ears, all songs chosen because they could have been heard in 1973, when the film is set. Scorsese has said he picked songs that commented on the characters or scene in an “oblique” way. And when Franklin’s “Baby I Love You” shows up, it’s a perfect match for the mood: Things haven’t started to go badly yet for the fellas, and they’re riding high, fittingly echoed by Franklin crooning about the euphoria of first love.

Shonda Rhimes’s Scandal was known for presenting its heroine Olivia Pope (Kerry Washington) as someone who’s unapologetically herself, flaws and all, but also the toughest person in the cutthroat world of Washington politics. It’s natural, then, that Rhimes’s show kept coming back to Aretha Franklin, whose legacy includes not only songs that are perfect for the show — like “Respect” (obviously), “Think”, and “Do Right Woman, Do Right Man” — but also a pervasive sense of power and a fighting spirit that came through in those songs. Aretha had to fight to for her place in the business and her legacy, and was unapologetic in who she was — the kind of person Olivia Pope would’ve looked up to.

On Twitter, Barry Jenkins noted that “there’s only one song that plays twice, in two different time periods” in Moonlight, his 2017 Best Picture-winning drama. That song is Franklin’s “One Step Ahead.” It first plays during the film’s first act, when young Chiron comes home after Juan gives him a swimming lesson to discover his mother with a man. The song returns in the third act, when Chiron, now grown, goes to a diner to find his childhood friend Kevin, following a desire that he hasn’t quite articulated to himself yet. Lyrics from the song’s two verses perfectly encapsulate who Chiron is: “I’m only one step ahead of heartbreak / One step ahead of misery,” and later, “… It’s too soon to forget you / It’s too late to be free, can’t you see? / I’m only one step ahead of your love.”

One particularly perfect use of Franklin’s music came just this summer, when Netflix’s comedy about the titular ’80s women’s wrestling league ended the best episode of its second season with Franklin’s swooning “You’re All I Need to Get By.” “The Mother of All Matches” centers on two single mothers doing whatever they can to build a better life for their sons, and even if their circumstances are vastly different (one is a black woman asked to play a racial stereotype in the ring; the other is a white woman who gets to play a champion for goodness and virtue), their love for their sons unites them — something perfectly encapsulated in Franklin’s soulful tune.

Of course, if you’re going to talk about Aretha songs being used in TV and movies, it’s impossible to do so without talking about …

The legacy of Franklin’s definitive cover of Otis Redding’s “Respect” has eclipsed the original, both on record and onscreen. (Sorry, Otis.) “Respect” is so evocative and so endlessly useful in storytelling that it’s passed the status of cliche and looped back around again to being immortal. IMBD lists 65 uses of “Respect” in TV and film, but frankly that sounds like a lowball to us — surely there must be hundreds.

When you want to do a shot of a woman gleefully striding toward the camera, deserving of just a little respect, you blast Aretha. When you want to do a montage of someone training for a goal, thus earning the audience’s respect, you blast Aretha. “Respect” plays on the third episode of Sex and the City when Carrie meets her friends at the movies and demands that their single status be given the respect it deserves. “Respect” plays when Susan is caught trying to steal a pair of rhinestone boots in Desperately Seeking Susan. Respect is what everyone wants, and no one can demand it better than Aretha.

When Sandra Bullock makes up her mind to force her love-interest-slash-no-good-boss Hugh Grant to fire her in Two Week’s Notice, she does it to “Respect.”

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When Renée Zellweger decides to quit working for her no-good-love-interest-slash-boss Hugh Grant in Bridget Jones’s Diary, she does it to “Respect.”

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When Forrest Gump meets his steely commanding officer, Lieutenant Dan, he does it to “Respect.”

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When Julia Roberts and friends are blasting their way through the streets of Mystic, Connecticut, in Mystic Pizza, fresh off a breakup and feeling pleased with themselves, they do it to “Respect.”

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When a lovelorn Andrew McCarthy pined for Ally Sheedy in St. Elmo’s Fire, he did it to “Respect.”

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There are dozens more: Aretha’s inimitable voice — yearning, ecstatic, and full of a fierce determination — automatically makes any scene better just by virtue of its inclusion. She demanded respect, and dozens of filmmakers gave it to her in the form of cribbing the emotional power of her signature hit.

Original Source -> 7 iconic Aretha Franklin musical moments from movies and TV

via The Conservative Brief

#IFTTT #The Conservative Brief

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yon-nyan · 7 years

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The Royal Tutor - Anime Review

When I was scoping out the Spring 2017 Anime line-up, The Royal Tutor didn’t really hit my radar. From the synopsis and the preview graphics that had been released, I honestly thought it was going to be a very cheesy show with some strong boy-love vibes. As a person who doesn’t usually go for the boy-love genre, I wasn’t interested in it at all. But something about it, and I have no fricking clue what, told me to at least watch the first episode so I could confirm my feelings. I’m really glad that I listened to that tiny, not-so-weird-at-all-little-voice-in-my-head because this series ended up being surprisingly decent.

The story revolves around a short, highly intelligent man named Heine, who has been given the post of Royal Tutor to four princes. The princes have been adamantly anti-tutor & studies, so the Royal Tutor position has been a very difficult one to fill and keep filled. We get to spend 12-episodes watching all of the theatrics that ensue as Heine tries to shanghai some education into these four delinquent teens.

As I mentioned in my First Impressions post for the series, when I began it I got a very strong Ouran High School Host Club aura from it. You’ve got four boys who very quickly get unique names via our Heine-sensei, and they each have a relatively tropey persona. Initially, this made me very hesitant in watching the second episode. No offence towards Ouran, but this trope is so fucking overdone that I didn’t want to deal with another show that revolved around it. Luckily, my fascination with the mysterious tutor outweighed my frustration and I continued onwards.

My expectations for the show started to grow, but didn’t really turn into anything fantastic as I watched. Mid-way through the season when we still hadn’t learned anything about the Royal Tutor’s past, I began to feel highly sceptical about the writing. I knew that we were running out of episodes and time for a good, fluid explanation of how a teacher could also be so skilled in combat as to equal a highly-seasoned warrior. There were some very vague hints, but not much else to go on. I also found there to be a slight imbalance on the attention given to each of the four boys, where a couple of them received a lot more screen time than the others. These two aspects actually filled me with a bit of anxiously negative anticipation. I’ve seen it many times before. A show starts off wonderfully, but then it overreaches and falls terribly short in its execution. Luckily, that didn’t really happen with The Royal Tutor.

While it’s far from being a glorious masterpiece, it has a decent number of facets that make it quite an enjoyable anime series. The first are the characters themselves. We get to learn about each one of the boys and why they are so vehemently against tutors and education. The reasons aren’t superficial. They are laced with insecurities and bad experiences. Occasionally a reason for one son will seem minor in comparison to another, but it just adds an empathetic dimension to their personas that makes you want to root for their success. I like that these boys aren’t perfect. Their flaws make them that much more engaging.

The tutor himself is someone who reminded me of Onizuka from the anime series GTO: Great Teacher Onizuka. He is a man who took the time to understand the underlying issues that kids have in order to better tackle them with a fitting solution. Heine and Onizuka knew that kids aren’t going to respond to a one-size-fits-all solution. Each kid is different with unique issues and problems. To help said kids, you really have to be willing to get to know them and distinguish them as individuals in a way most people don’t want to deal with.

Remember how I mentioned earlier I was worried about the imbalance of screen-time for the boys? It turns out that some of the boys needed the extra attention because their problems needed that extra support. It also played very well towards plot progression because the imbalance was created to fit the unique issues and insecurities that each of the sons were going through. For example, one of the kids is a very shy and timid person with a fearsome outwardly appearance. He wasn’t shown nearly as much as I had hoped (he became my favourite character because I could relate to him like you wouldn’t believe) because of this demeanour. It wouldn’t have made sense for him to be sprouting up all over the place, unlike the youngest brother who’s a social whore.

The themes in the show were also a bit comforting. Most of it had to deal with accepting yourself for who you are, even if other’s can’t accept you. It was dealt with in a positive way that doesn’t negatively portray awkward social skills, or fetishise issues involving a lower intelligence, etc. etc. I like that the changes that the boys make are gradual instead of just being an instant fix as soon as they comprehend the lessons they’re learning. There’s also a bit of focus on not judging anyone by their appearance or initial mannerisms because there’s a huge chance that you will be wrong about them, friendships come in all shapes and sizes, and soft things will always be cute.

All of these elements made for a pleasant watching experience, however, it does have its faults. The humour, while being kooky and a light-hearted means at softening tough topics, is really predictable at times and felt cheesy and out-dated. The story in its entirety is of average quality and can make you feel pretty indifferent about whether you’re having a good time or not. Although I do like the characters, nothing within the The Royal Tutor truly made me anticipate the next episode with impatient, passionate glee. I felt so apathetic about having to wait a week for new content, or when the content finally did arrive I’d watch everything else before really getting to this. The only thing that I was super fricking curious about was Heine’s past, which was a small bit of a let-down because the morsels of clues left in the wake of one episode to the next made it sound like Heine would have a really badass history. Instead the truth was disappointing and anticlimactic.

The animation itself is pretty much typical; nothing extraordinary or breath-taking. It’s clean and seemingly well-developed. I found the outdoors scenery to be more pleasant than the interiors. There are a lot more details that go into creating the environment and atmospheres amidst nature than within buildings. We see this with the mansion, or palace, as it just felt like an atypical reproduction of a European mansion that seems quite standard in anime with such structures. Within a local café in town, we get a similar situation. The café does look to be quite large and it is nicely presented, but it doesn’t encapsulate the same sort of attention to details that the natural atmospheres do.

Mid-way through the series, we do get a whisper of a small plot that’s being hatched to affect who will inherit the throne if and when the king passes on. This is something that felt extremely out of place to me for multiple reasons. Firstly, it randomly just pops up at the finale of an episode or two and then isn’t brought up again until a few episodes later. Secondly, when it is brought up, it’s only for a couple of minutes; not nearly enough to make any sort of impact. It makes one last appearance during the final episodes, and it honestly felt like the only reason it was tossed into the series to begin with was to add some tension and intrigue to the plot.

Overall, The Royal Tutor is a good, fun average anime to check out. The cast is engaging and you can’t help but feel for them in certain situations. The story is very chill and simple, as is the animation and music. But if you’re in the mood for something that’s going to blow your mind, or totally make your jaw drop, then this anime is not for you.

6 tortes outta 10!

#oshitsu kyoushi haine #The Royal Tutor #spring 2017 anime #anime #anime review

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