Forum - View topicHey, Answerman! [2009-02-27]
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Agent355
 Posts: 5113 Location: Crackberry in hand, thumbs at the ready... |
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Persepolis (the comic and the movie) were great must reads/sees! Serious, adult-oriented animated films seems to be more accepted in Europe and other countries than the U.S. Persepolis is French, as was The Triplets of Bellvelle (still don't get that movie, though. But it tends to be shelved in the "anime" section of Blockbusters.  )Waltz with Bashir is Israeli.
I have a "dream list" of American comics that I'd love to see animated (Neal Gaiman's stuff, Marvel's Runaways and Ultimate Spiderman, etc) and I was a big fan of MTV's Spiderman a few years back. I wish it hadn't been canceled so quickly. 
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vashfanatic
 Posts: 3489 Location: Back stateside |
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Yeah, I don't think you actually could do The Sandman Chronicles live action, not without spending a bazillion dollars on SFX and CGI anyway, and even then it might look rather silly. And since Gaiman's already been involved in two animated projects (Beowulf and Coraline, although neither of those are traditional animation), who knows? It might be the perfect "gateway" to widespread acceptance in America of serious animation! ...or maybe not. A fangirl can dream, can't she? |
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fuuma_monou
 Posts: 1817 Location: Quezon City, Philippines |
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Hard to use seiyuu fandom in following hentai since a lot of the time the voice cast is anonymous, though your examples had well-known seiyuu. Angel Blade and Go Nagai's Kama Sutra were pretty bad. Haven't seen Fencer of Minerva. Going back to this week's question, having reviews helps you avoid the crud that inevitably arises in any creative field. |
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Swissman
Posts: 768 Location: Switzerland |
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....? ... Do you really mean the late nineties in this context and not rather the late 80's? Because in the late nineties, Japan's economy was still in a recession as opposed to the late 80's, the oav as a device to introduce animation to fans began allready 1983 with Dallos and experimental/surreal anime started to peak during the 80's with shows like Urusei Yatsura and movie/oavs like Angel's Egg, Wings of Honneamise, Akira, Beautiful Dreamer, Wata no Kuni Hoshi, Manie Manie Monogatari, Gunbuster, Patlabor, ect. |
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SalarymanJoe
 Posts: 468 Location: Atlanta, GA, USA |
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While I disagree with DomFortress's assertion that the wave rode out into the late 1990s (with the bubble bursting in the early 1990s and nearly all sectors of the economy being affected a couple years later), both DomFortress and Swissman bring up a great point that Brian didn't address in the article - that Japanese animation started out as a medium for children and families, just like the 'golden age' of American animation of the thirties and on through. While there are a handful of titles that influenced titles to come, post-war Japanese animation from 1945 to 1974/77 followed a fare where theatrical releases were geared towards entertainment for the whole family and television releases sold toys, candy and other products to children. They were all, essentially, children's fluff. When Space Battleship Yamato fever hit Japan, it was the first series which had adults taking in the serious serial narrative and popularity was widespread throughout much of Japanese society. It was at this time that a lot of science fiction clubs and circles also began discussion animation and special effects television series on the same par as "normal" literary science fiction. With the popularity of Galaxy Express 999 in the end of the decade, animation was getting a serious enough look from fans, motivating some of the more dedicated otaku circles - namely Studio Nue (with Takachiho Haruka) and the formation of DAICON Film (later, Studio GAINAX) - to get into the industry themselves were able to pitch, produce and release more serious animation that could rope in someone surfing the television or looking through the video rentals or even out for a movie as well as a core group of animation fans. Economic prosperity of the 80s and the early '90s made possible for "edgy" projects that targeted only animation and film fanatics. When the bubble burst and the money pools dried up compared to where they were, anime creation was bent on formulaic production values, even more shoe-string budgets and strict audience targets. So, "boring history lesson" aside, what made Japan develop more serious animation? Because there either was, or a chance there was, an audience for it. Money flowed like bathwater so a piece that ended up being monstrously successful could float projects that were less so. Of course, I am also of the belief that the Bubble Economy Otaku which drove this period is also a member of a dead or dying breed. The otaku now a days aren't interested in that sort of complexity anymore, now only caring about their moe-loli stereotypes and multitudes of half-naked figurines. Now, please don't put words in my mouth, there have been shows that I think are good since the bubble burst between the mid-'90s and now and there are some of those pre-Yamato shows, especially ones that set the "loose set of criteria for a category of composition" are fun, too. It's just that when I think of serious Japanese animation, I am drawn back more towards the idealistic and inspiring time of Japan in the bubble economy. |
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DomFortress
 Posts: 751 Location: Richmond BC, Canada |
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And to continue on with your history lesson on the progression of anime subcultural community in Japan. It was during the 10 years long Japanese economic recession, that's when the 3rd generation of anime otakus/fanatics took over the general direction of anime series from the 1990's to early 2000's, to be more realistic instead of being idealistic, and more comforting instead of inspiring. The story settings had more references based on current events of that time period, and more emphasis was put on characters developments rather than the story plots. This is because during the recession period, a lot of the social issues that weren't addressed during the previous economic boom, had begone to cause social breakdowns within the Japanese society. This discouraged the Japanese youths back then, to a point that made a good number of them antisocial, if not cynical and/or suicidal. So in order to appeal to this generation of Japanese youths, the anime industry was forced to change their orientations. At the same time, the anime industry was scrambling to reform in order to survive the impending economic recession. The media publishers, toys manufacturers, and the gaming companies were collaborating more and more with each others, while using anime as an medium to advertise their products toward the Japanese youths. OTOH, most of the anime production companies and studios were being bought out by the bigger medias, toys, and games corporations in order to survive. In the end, the anime industry survived the 10 years long recession together with a new breed of anime fanatics, at the cost of their ideals and inspirations. As they entered the early 2000's led by an even more niche but now antisocial 4th generation anime otakus. And the rest, is the history of now as we know it. Last edited by DomFortress on Mon Mar 02, 2009 3:27 pm; edited 1 time in total |
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enurtsol
 Posts: 14761 |
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And there's Kikuko Inoue (Belldandy) in Ogenki Clinic.
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Bling Bling
Posts: 24 Location: NC |
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I think the next breakthrough title will be protectors of universe vic mignogna should re dub it
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Bling Bling
Posts: 24 Location: NC |
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Your right that show is da bomb |
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Keonyn
 Subscriber Posts: 5567 Location: Coon Rapids, MN |
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Really? You're going to reply to yourself? As fascinating as this might be as a psychological study, I'm afraid this isn't the place for that.
First off, if people aren't responding then the thread is dead, there's no need to try to revive it by holding a conversation with yourself, that'll just get it locked and ensure it stays dead. Second of all, the rules do state that you need to add to the discussion, and not just blurt out meaningless one-liners. Unfortunately your response to yourself qualifies as such a meaningless one-liner, and the initial post isn't much better. So, in short, next such posts will be deleted and further action taken if necessary. |
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idrisfynn
 Posts: 17 Location: San Francisco |
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I don't post much so I don't have a good feel for the board but in regard to changes made in anime series, I think other than the issues with the Kenshin anime my only really big problem was the KareKano (His & Her Circumstances) series. It had all kinds of staffing and budget problems but it started out so promising and the manga had a lot of great material to pull from. I wish that series could be picked up, dusted off and completed.
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enurtsol
Posts: 14761 |
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Not with Gainax, at least. IIRC, the KareKano manga-ka and Gainax had a big disagreement where the series was going: the manga-ka wanted more romance, Gainax wanted more comedy. |
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CCSYueh
 Posts: 2707 Location: San Diego, CA |
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It was Takehito Koyasu in Strange Love (the doctor) & Fencer of Minerva that influenced those purchases Really early in my anime collection, I picked up Elven Bride on VHS for a buck. It was pretty similar to the live action stuff I remember. (A doctor helping women. Yeah, right) At least we tend to get good VA's in yaoi anime. |
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DomFortress
Posts: 751 Location: Richmond BC, Canada |
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Since we can all agree on the concept that anime is just another medium to tell a story, then the real question here is just what must a breakout hit story should be like? We can all see for ourselves in today's anime just what's it like to have realistic yet not idealistic nor original production elements, and with a heavy emphasis on complex character developments instead of inspirational story plots, can do to a certain type of niche audiences. But can the same uninspiring production elements produce the breakout hit that anime industry desperately need to appeal toward an international audiences?
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LordRedhand
 Posts: 1472 Location: Middle of Nowhere, Indiana |
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I'd say a breakout would be something that would do unexpectedly well, like Cowboy Bebop, financial failure in Japan but when they brought it to the NA market boomed into a financial success. So in one case it would have to be something that could air on TV/Satellite/Cable in some way, with a measure of risk, so while Full Metal Alchemist was a hit when it first came over here it would be concerning if a remake of it was an unexpected hit here, as there is already a built in fan-base so it already is less risky in the NA market.
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