Posts Tagged Sakuga
Cinematography is perhaps the ultimate challenge for a TV anime to overcome. Inherent of television anime are limited budgets and tight schedules, meaning that the resources and time provided are not enough to allow for the same level of quality that we see in movies or elsewhere. And while quality often refers to detail in the art and animation, such as more complex or frequent sakuga sequences, it also means an improved cinematography where shots have more variation and camera motion is more prominent. Since the production schedule and resources are difficult for a TV anime, they must rely on a number of industry techniques to make a finished produced on time, with perhaps the most recurrent being the use of shooting dialogue scenes using still characters with only their mouths moving. And in terms of cinematography, the shots are often flat and still, making it easier for the animators to anime with a consistent level of acceptable quality. However, this is difficult to do when the anime’s story or purpose resolves around the characters acting or performing or moving in complex ways. This leads us to Ping Pong the Animation, one of the most acclaimed and illustrious anime of the year, and its brilliant and artistic use of cinematography to convey action throughout the series. While the series was overflowing with symbolism, the topic of this post is primarily on its cinematic techniques that were some of the most innovative, resourceful, and memorable in recent memory.
Some will argue that sakuga is the pinnacle of animation. It would be hard to argue against that. Ultimately, sakuga is known for its unparalleled quality, its aesthetic ingenuity, its dramatic emphasis, and its overall impact. There’s a reason why sakuga is so revered among zealous anime fans and rightfully so. However, in an anime celebrated for its brilliant animation, it’s the exact opposite that frequently stood out to me as having the most effectiveness. In fact, it was the absence of animation in KILL la KILL that earns a spot in my 12 Days of Anime, or more specifically, the impression from Nui’s lack of animation. I want to bring attention to how her simplistic motions were a complete contrast to everything else visually in KILL la KILL, and how her animations were some of the most effective that I’ve seen in an anime.
Whenever Week 4 was, probably a long, long time ago: thoughts and observations on the symbolism of darkness and light in Zankyou no Terror, questioning the accuracy and reliability of Touko’s special ability in Glasslip, becoming unhappy with the direction Tokyo Ghoul is taking in relation to its story and its content, and a short rant on student governments and school clubs inspired by Hanayamata.
Last week: why the third episode of Space Dandy Season 2 might be my favorite of the year, an analysis on the diversity of rural settings and how the specifics of this are impacting Barakamon, some egregious contradictions with the mecha in Aldnoah.Zero, and some serious questions about the structure and purpose of Night Raid in Akame ga Kill!
Although the realm of Flonyard appears to be incredibly peaceful, exceptionally pleasant, and irrefutably safe, it’s essentially a world plagued with horrifying demons, merciless highway bandits, and innumerable crimes and destruction. Even with respect to the lighthearted, friendly, and optimistic themes that Dog Days’ constantly upholds, Flonyard is beleaguered with threats and menaces. While a world perfect for fun and adventures to any traveling hero or super-solider, it must be entirely the opposite for the citizens who inhabit these lands and call Flonyard home.
After a two week absence, Guilty Crown returns with a substantial character-driven, story-heavy twelfth episode that you would figure be better placed to end the Autumn season than start the Winter one (I bet they missed the memo that noitaminA anime are 11 episodes per season and had this one planned to end the first half, or at least it seemed that way). I came away from the episode, again, with ambivalence realizing the series performed well in some areas but continues to struggle in others. That’s been my issue with Guilty Crown in that there’s always some good and some bad. But one area of the anime has consistently exceeded my initial expectations, is generally overlooked, and has been a delight throughout the series. And that’s a topic I want to highlight from this episode.