12 Days of Anime (2014) – Day 10 – Cinematography in Ping Pong the Animation

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.

12 Days of Anime (2014) – Day 11 – Nui’s Animation in KILL la KILL

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.

Autumn 2014 – Week 2 Anime Review

This week: why episode 13 of Yama no Susume Second Season might be the best episode of anime of 2014, distress and worry that Psycho-Pass 2 will be a fanservice anime or a shell of its former self, examining why the melee choreography of the fights of Fate/stay night: Unlimited Blade Works are so enjoyable, and concerns over the evolving comedy in Amagi Brilliant Park.

Autumn 2014 – First Impressions (Part 4)

This post reviews: Parasyte (Kiseijuu), Garo: Honoo no Kokuin, Shirobako, Ore Twintail ni Narimasu and Shigatsu wa Kimi no Uso.

Summer 2014 – Week 10 Anime Review

Back during Week 10: expanding my theory about the primary and secondary focuses of Hanayamata, an example of the magnificent cinematography in Zankyou no Terror, what made episode 23 of Captain Earth the best in that anime, and the return of the subtle yet sensational running gag in Space Dandy Season 2.

Summer 2014 – Week 5 Anime Review

I am terrible at staying up to date with these posts, but whatever. Back during Week 5: concerns with the directing and storytelling in Tokyo Ghoul, considering the depth and complexity of Hanayamata despite its appearance, curiosity about the different perspectives in Yama no Susume Second Season, and wondering all the other things you could do with a Stand in JoJo’s Bizarre Adventure: Stardust Crusaders.

Summer 2014 – Week 4 Anime Review

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.