When Studio bones attaches itself to an anime, it is a mark of quality that transcends genre. Not one of bones's back catalogue can be claimed to be substandard in either animation quality or production. Common occurrences like a first episode budget-burn or compromising fidelity for fluidity so common to serialised TV anime are non-existent for a bones' creation. So it's with continued admiration and a sense of joy that one can approach Tokyo Magnitude 8.0 safe in the knowledge of bones's place at the pinnacle of production.
one can imagine this is uncomfortable viewing for residents of Tokyo
Beginning with stark sepia scenes of a ruined Tokyo, this tells the - currently fictional - story of a severe earthquake striking the Tokyo metropolis area. Focusing on the trials of Mirai and Yuuki as they try to find their way home, the first three episodes of Tokyo Magnitude 8.0 are absolutely superb and are a masterclass in characterisation. Opening in rain drenched twilight then rolling back 24 hours, Mirai is portrayed as a typical urban youth: fractious, jaded and proud. Miles from their prototypical suburban home when the disaster hits, Mirai must first search tearfully for Yuuki but not before meeting the bike courier Mari; with Yuuki successfully located, the trio take flight from Odaiba and start the long journey back to their homes. Following such luminaries as Eden of the East with a diminutive 11 episodes, there is ample time to explore the meticulously researched devastation as well as forge the protagonists.
Or to give its full, punctuated title: Princess Lover! The premise - once again - is to cram as many lithe, buxom females into as confined a space as possible and provide an empty husk of a male protagonist to catalyse their frequently outlandish but never overtly raunchy interactions. In short: fan-service romance comedy. The anime is just one of a number of media co-minglings, starting with the visual novel by newcomers Ricotta (as in the cheese) and followed by light novels, manga, this anime and a related radio show. What should be surprising is just how many different ways such a vapid and paper-thin plot can be told.
this is borderline misogynistic, reinforced by the profusion of quantum singularities where underwear should be
The lead character's parents are killed and while moping near their grave one day he gets embroiled in a scrappily animated chase between a horse drawn carriage and an open-topped jeep full of thugs. One tenuous event leads to another and the pink haired, well-endowed passenger is flung from a cliff into a thicket of trees where upon the protagonist wakes up and finds himself fondling her chest. This is all immaterial of course because he has been adopted by his immeasurably wealthy grandfather, ostensibly in order to find the people responsible for his parent's murder and subsequently avenge them. Instead though he spends time rubbing elbows with various females and partaking in the local school social club (by attending a party after etiquette lessons, naturally). That this feels so familiar is odd considering the set-up at least is superficially unique.
Evangelion occupies a very special place in my heart: I watched the series on VHS in 1997 when I was fourteen and - without hyperbole - it was a life changing experience. A series that was smart and brutally obtuse and flitted from Jungian psychology to religious dogma was revelatory for me at the time and it questioned a lot of what I had not yet fully formed questions about; so as well as being gob-smackingly awesome, it changed who I was and consequently who I am. For those reasons I am utterly fanatical about the franchise and concept. Like a delusional lover I put up with a lot of the nonsense that GAINAX throws: I own the original series on twelve VHS tapes which I upgraded to DVD when they were first released, then upgraded them to the Platinum DVDs; I did manage to stay away from the deluge of tat that has been continuously released but it's fair to say my own lot of Evangelion merchandise is not insignificant. In what is a truly savvy move, just as patience for the constant re-releases was beginning to wane news came of the Rebuild project.
If 1.0 was meant to prime the fans for what was to come, 2.0 detonates with magnum force.
Not just a fresh coat of paint but a fresh take - that was the promise at least. It was hard to get excited, especially when there was also word of a live action Hollywood adaptation bolstered by some mightily uninspiring concept art - the only promise being that WETA are on the case. Regardless, the news came out over a year before the first Rebuild release so there was plenty of time to build up my scepticism. The first movie, "Evangelion 1.0: You Are (Not) Alone" released in 2007, deserves a post of its own and the number of pages I've devoted to notes and thoughts and theories bordering on absurd. The second movie, "Evangelion 2.0: You Can (Not) Advance" released just this summer is easy to write about because I have not yet had a chance to analyse and unpick it as I am wont to do. For want of a better description, this is a review rather than an unravelling.
My previous forays into crafting an automatic screenshot taker were, at the time, very successful. The system managed to pump out usable images in a fraction of the time it would have taken me to seek and do them manually; I even extended the script to handle multiple file-inputs which made 'capping an entire series a breeze. Lamentably, this was a honeymoon period before cracks started to show, followed by gaping chasms.
The only workaround the first screenshotter used was a glitch for Windows Media files which meant the first frame sought was always blank, it swerved around this limitation by taking two shots and discarding the first. This symptom, however, was indicative of what would become a persistent problem.
Background
The first significant problem I encountered with the setup was with the series Claymore, a great many of the resulting images seemed to have a lot of "bleed through", as if one frame were being intermingled with another, this was above an beyond the standard cross-fade transition screenshots that were common. At the time I assumed it was because the files I used were modern H264 MKV files rather than the standard XViD ones I had been using before, or that the encoding was particularly shoddy. After downloading an updated version of mplayer for Windows the problem seemed to disappear; I ended up regenerating a lot of the images for episodes which were most severe offenders.
The thing to understand is that seeking in a video files is very difficult
After a spate of swift updates, I didn't blog anime any more so the screenshotter shortcut on my desktop lay dormant until I decided to unleash some madness on Strawberry Panic. While the setup worked, it was producing an unusual amount of exact duplicate images, despite being over five seconds apart. I realised there was a fundamental underlying cause for this that an mplayer update wouldn't fix. True high-definition versions (not upscales) of certain releases were now readily available, namely the seminal Ghost in the Shell: Standalone Complex (and associated movie Solid State Society) and a selection of Makoto Shinkai works including 5 centimeters per second, which I wanted to pluck some quality captures from (for desktop wallpaper or other purposes). These files did not agree with the screenshotter at all and stoically produced correct resolution but entirely black captures which was less than useful.
How would a studio approach a manga known for its wordplay and focusing on a depressively suicidal teacher, a manga that was notoriously (even infamously) claimed to be untranslatable? Surely even SHAFT, known for their off-the-wall adaptations of other, more straightforward manga such as Pani Poni and Negima, could manage such a feat? They did, and with such reckless disregard for obstacles such as plot, continuity and sanity; Sayonara Zetsubou Sensei is bizarre, satirical, cynical and rambunctious and solidifies SHAFT as a skilled and confident studio.
each episode is a scatter-shot of styles and content, the speed and veracity of each bite-size skit causes as much humour as the subject matter
Describing the premise of the series would never be enough to encapsulate what it is actually about: the histrionically pessimistic Itoshki Nozomu is at thwarted in his attempts to kill himself by the outwardly naive and interminably optimistic Kafuka. This satisfies the first twelve minutes of the series as it then goes on a journey involving stalkers, hikkikomori, escape routes and courting rituals but most of the time it concerns itself with nothing in particular: a multicoloured collage of gags, perceptions on life and randomness. Sayonara Zetsubou Sensei has very little to say and has a damn good time saying it. The series doesn't cover a specific time frame or tell a coherent story, it is a staccato whimsy of wordplay and wonder; a möbius strip of pop-culture references and banter on the thralls of modern existence. If all this sounds like the series occupies a different existence to the rest of the world, you wouldn't be far off the mark. An episode can focus on one specific topic, often meandering along the way, veering off on tangents of logic but ultimately digging through an obscure subject such as what can be accepted as minimal culture, or clearing away impurities or escaping from blame and responsibilities. Other episodes which make up the majority of the twelve episode barrage concern themselves with frittering away on whatever shiny issue takes its fancy, the opening episodes concern themselves with introducing the core set characters and their associated archetypal personality quirks then strobing fanservice, insults, family members and all points in between. Episodes are sometimes over before one knows it, other times the closing animation can be just a punctuation mark before it continues, seemingly unabated.
