Well, smack me some tentacles and call me Horsey! They just announced a movie adaptation for Heaven's Feel, the final arc in Fate/Stay Night story. A surely tremendous time for TYPEMOON/Fate fans (like me)
Personally, I think it is the best story out of 3 from the original visual novel. To some people, it is a bit too bloody and brutal.
Okay, what I roughly understand from this NHK news is Japanese government will go after 580 sites outside Japan to remove all illegal content such as anime, manga etc 1 year from now. The particular target is China and government ministry estimated 560 billion yen is lost due to piracy (equals to USD$ 5.4 billion) annually. Undoubtedly, the fansub sites might be targeted too.
How successful it would be is kinda doubtful, given the dissemination of these products is so widespread and common especially at Asia.
I am interested to see how they will pull this one off.
The scene below is a good example of visual storytelling. The use of one point perspective directs the viewers’ gaze to Lisa, which is important for the emotional connection this scene is trying to achieve. With the audience’s attention drawn to the center, they themselves can feel surrounded by the shadows in the hallway; a visual experience that effectively coveys a morose atmosphere. The only light source from the outside not only put more focus on Lisa but also gives off a “light at the end of the tunnel” effect. Lisa walking away from that light expresses her feeling of hopelessness. Also, notice the girls socializing outside. This is a stark contrast to Lisa being alone in the darkness of the hallway and further reinforces the strong sense of isolation present in this scene.
There are a couple of cuts to Lisa’s shoes, and each time the camera zooms closer. This visually communicates that she’s still a target of bullying, which is then confirmed as she discovers her locker to be empty.
Near the end of the scene we see Lisa’s reflection in the overhead convex mirror. This effectively works as a high angle shot, which are often used to characterize a person as weak and powerless. The mirror distorting her into a diminutive figure even puts more emphasis on her feeling of smallness and seclusion.
Whip pans can be visually off-putting when used inappropriately due to the abrupt movement and distortion of image. When used well, whip pan is a good way to do dynamic transitions especially in action oriented scenes and that’s what this episode of Haikyuu does.
In this sequence two different actions in different places are cut together. By using whip pan to imitate the volleyball’s movement it makes a seamless transition from one action to another, which gives an impression of one cohesive action. This also helps the narrative as it connects two groups of people going through a similar experience of being overmatched but yet still staying resilient.
In this scene, the use of whip pan was more straightforward but nonetheless very effective at showing teamwork. Hinata acts as a decoy, then a whip pan to Daichi as the spiker.
The video below was the beautifully done montage. I really like how it uses the shape of the volleyball to frame the sequence, which puts an emphasis on how much the sport can mean to people. Also, the narrow and round field of vision helps puts more focus on the pain of defeat expressed in their faces and body language.
Another thing worth of note is the use of extreme close up on Hinata’s eye with the reflection of his defeated opponent. A moving image but also a subtle way to show Hinata’s empathy since he had a similar experience.
So far Zankyou no Terror has heavily used low-key lighting, which creates a high contrast between the light and shadow.
In these shots the low key lighting was predominantly used on the characters to give a dark dramatic effect. In Mishima’s case it’s done to emphasize her dysfunctional and emotionally unhealthy relationship with her mother. With Nine and Twelve it was to add an air of mystery and suspense as they plan out another terrorist attack. The Shibasaki shot can be seen as straightforward imagery of a detective in the shadows.
Low key lighting was also used for background shots to create a tense mood and a heavy and distressing atmosphere. In the first shot Twelve and Nine are part of the background and again visually portrayed as shadowy figures.
The show also uses bloom lighting a few times which helps prevent monotony. It was also done mostly as a clever way of highlighting the characters.
This medium close-up of Mishima the bloom highlights her feeling of apprehension and curiosity as she looks back at the empty desk of one of her terrorist classmates.
The bloom here highlights Nine’s next act of terrorism.
A medium close-up of Shibasaki with the bloom accentuating his detective work that led to the location of the attack.
During the Oedipus Rex exposition, diagonal lines were used to disorient the audience which creates an unnerving feeling that can be associated with such a twisted and tragic tale.
In these two images notice that they're shot in a way that frames the table, chair, white board and the lines on the walls diagonally.
This shot uses canted framing to create diagonal lines with the book shelves. Also, this shot being a one point perspective draws the audience’s attention to the center and adding a tilt to it really adds to the disorientation.
The dynamic scenes in this premiere made great use of low level framing to add intensity to the action. The low level of framing puts all the mad scramble right on top of the audience. This makes the movements seem dominating and more hectic which are effective ways to create intense moments.
The clip below is part of Mishima’s escape scene. Again, you'll notice the low framing, this increases the sense of speed as the motorcycle passes by. The camera also tilts sideways for a canted framing which have a disorienting effect that adds to the franticness of the situation.
I also thought the use of shaky cam and motion blur was appropriate here. She’s running for her life and overwhelmed with panic. It’s a disorienting feeling and the use of shaky cam communicated that well.
The first episode uses distance and surface division to convey the mood between the characters.
Usually distance and surface division are used to express emotional separation between two characters. The shot above uses them to create a rather charming interaction between the characters. The use of bloom and watercolor texture softens the lines of division and gives the scene a dreamy look. This makes the use of distance as an effective way to express the innocence and awkwardness of young love.
Without the bloom and watercolor look the surface division becomes sharper, which changes the mood between Futaba and Mabuchi. Three years has gone by since they’ve talked, and they’re different people now (at least that’s the act they’re putting on). The alley way, the column and the window panes visualize this emotional separation between the two. Mabuchi also expressed the notion that they can never go back to past and these surface divisions can symbolize barriers to the past.
There are also constant images of Mabuchi’s back and Futaba always seem to be looking at him walking away. This reinforces Mabuchi’s view that they can never go back, he’s turning his back and walking away from the past.
Holy crap, the 1st episode upped the stakes so high and epic, I love it. Easily, I can see why this will be the most talked about and perhaps one of the best anime in 2014.
The peaceful, lovey dovey princess dies in 1st ep and milions of people of dead in nuclear assault by enraged Martian troops in her wake. Their bodies (the Earthlings) turn into nuclear ash in unapologetic manner as it should be. With a mournful J-Rock song accompanying it. Certainly a nod to Japan's experience of Hiroshima and Nagasaki in 1945.
The unrealistic and pacifist belief in peace is mercilessly crushed in face of human reality. Urobochi have no time for this non sense so no Relena Peacecraft crap here.
And I actually feel sad for a pair child siblings who innocently wishing for peace when they saw shooting star which is really Martian weapons descending down to wreck some hell on their world.
The feels of the final scene is very strong for me.
This episode uses visually striking long shots not just for eye candy but to pique the audience’s curiosity and set up the forthcoming expositions. The two shots below raise the questions about the moon’s destruction and the gigantic ships orbiting the Earth, by doing so the viewers become more attentive and receptive to the details later provided by the exposition. This is a simple but effective usage of visual stimuli to inject interests into expositions.
This early scene immediately establishes the dark tone of the show with the heavy use of shadows and silhouetted characters. I also liked the used both warm and cold colors to add to the grimness. Red obviously symbolizes violence while purple has that cold hearted intensity to it.
During Kaneki’s surgery he had a really vivid vision resembling a near death experience. The long shot above provides an imagery of his transition to being not quite human and not quite a ghoul. Kaneki is swimming towards the light that represents the humanity he is seemingly trying to grab hold on to. The darkness below is the ghoul in him pulling him down and as a result he is in limbo as represented by the red.
This high angle crane shot demonstrates Kaneki’s feeling of isolation and separation from other humans. The blue hue is a color that emphasizes his state of depression. This could also be interpreted as him being a predator amongst the herd.
The clip above is Kaneki slowly realizing that he has the characteristics of a ghoul. The constant slow push of the camera builds up the sense of panic growing within him. As his panic reaches its peak the camera goes into an extreme close-up of his eyes to show his expression of fear. The close-ups of his mouth and food reinforce the importance of how taste would define his humanity.
