Yes I know. One would immediately see a title with the name of "Pretty Boy Detective Club" and instantly react in some manner or another (disinterest being the most likely polite one).
But this is again adapting a Nisio Isin work by Studio SHAFT, the talent behind the Monogatari series of course. So you can automatically expect a super stylized visual aesthetic (with top-tier visual production values) and of course Nisio Isin's unique narration and storytelling.
And the vocal talent has also been acquired too with the female and male MC's being voiced by Maaya Sakamoto and Ayumu Murase respectively.
No guarantees you'll enjoy it of course, but just fyi in case you were only thinking of passing it up due to the name. At the very least you'll definitely get a visual treat out of this one.
With the Live action adaptation of Sandman coming out, it got me thinking that it is virtually impossible to faithfully adapt Sandman in a live action format even if the budget is on par with somthing like GOT. The limits of that medium can't do justice to the vast imaginative World of Sandman. So instead of that, what if Netflix decides to adapt it in a animated format, imo it would be brilliant if done correctly & Studio Shaft is the perfect studio fr it with Akiyuki Shinbo as the director.
I recently watched the US release of "Fireworks" during its three day run in my city. This was my first time going to a theater to critical watch a movie, and not just sit back and relax (although we had reclining chairs so I did a bit of that). I was going to pick apart this movie and see what was hiding behind it. I didn't go into the film with high hopes, as I knew that it would be riding off the coattails of the semi-recent release of Makoto Shinkai's "Your Name" phenomenon. although it tried to reinvent itself with a time travel element, it was clear how much of the movie was inspired by not only "Your Name", but also releases like Porter Robinson's "Shelter" AMV. There are also flaws in the writing, story progression, and artistic choices leading to, in my opinion, the ultimate downfall of the film.
Now I know some of you are like "But JacXtrom, "Your Name" was also produced by Genki Kawamura, so it's bound to have some similarities to his previous work!", and I hear you. But, I think as a producer, one must be able to adapt and anticipate change in the workplace. He should have seen that nothing was going to come close to the critical success of "Your Name". he needs to create something new to take it a step above. Creating the same thing over is a very risky maneuver, especially when the initial film was such a hit. Fans will be expecting something just as good, if not better, and when they are given a half-baked idea of a similar plot, one leaves disappointed. there was potential for it to become on the level of "Your Name", but it never was fully reached.
There are also the "almost" direct references to other works of the medium that took away from the overall feeling of the film. In one scene, our main love interest, Nazuna Oikawa is floating in the distant ocean, with her maroon hair floating around her. Now it might not seem that direct at first, but after further inspection, I felt as if this was directly pulled from Porter Robinson's AMV "Shelter" in which in the opening scene, the main character is floating in a deep ocean with her maroon hair flowing with the water. "Shelter" is revolutionary for the anime industry as it is a stepping stone for it to become mainstream media with the blending of western music and Asian art. I know Shaft can create its own unique art style for this film as they have used many different styles in the past, even working on such unique artistic projects as βMarch comes in like a Lionβ, βMadoka Magicaβ, and t
... keep reading on reddit β‘
I became a big fan of the direction/cinematography in Kizu and saw heβs the director, but then Iβve read all these things about him supposably just being a figure head and that his students are the ones that do the work? Can anyone tell me the TRUTH, behind all this?
First of, this film's reputation is pretty much in the toilet (as far as I'm concerned) and is not exactly doing well on RottenTomatoes either:
https://www.rottentomatoes.com/m/fireworks_should_we_see_it_from_the_side_or_the_bottom
What's more is that the film comes out on January 11, 2018, which is the release date of... this:
https://www.rottentomatoes.com/m/coco_2017
###This week in Director Spotlight: Shinbo, Akiyuki
Akiyuki Shinbo, maker of your favorite shows like Hidarami Sketch, Madoka Magica, and Monogatari. Unlike last weeks Director Kawajiri, some of you might care this time round! Shinbo is unique in my spotlights thus far. Kawajiri was a Key Artist, Imaishi is a comedic extreme, and so on, but Mr Tilt-a-head? He's just a commercial and marketing director. The Michael Bay of Anime.
His style is less a real style, more a nostalgia machine turned to 11, and what I might consider his style is actually a business decision to brand a style under his name. It's all very confusing. All through his career, credit is given under different names, sometimes he isn't credited till the final ova, other times he gets credit while working on something completely different. The man is an enigma, but constantly known for trumendous work ethic and grand directorial style choices.
The One Man Studio
When I say Shinbo, you say Shaft... chanting continues
So the hard part begins with separating Shinbo as the studio Shaft, and Shinbo as a director. Outside of his later career with a studio being stamped with his name, I call Shinbo a "One Man Studio" because of a prolific work ethic and a tendency to run mutliple series at a time.
His time with Studio Parriot allowed him to work on a wide variety of genre and entertainment. Working on Musashi Samurai Lord, Marude Dameo, Montana Jones, Ninku, Midori no Makibao, and Kaiketsu Zorro, in mostly unit direction and learning from some great directors and animators. Moving onto doing Storyboard, episode direction, and his first touches to directorial work in Galaxy Fraulein Yuna, and Saber Marionette.
Shinbo begins to display his real director style, and full control of storyboard, when he began to work on YuYu Hakusho. Taking over the Dark Tournament arc, turning the character design to be much thinner and making fights more abstract. Most famously Episode 58 shows Shinbo taking on
... keep reading on reddit β‘###This week in Director Spotlight: Shinbo, Akiyuki
Akiyuki Shinbo, maker of your favorite shows like Hidarami Sketch, Madoka Magica, and Monogatari. Unlike last weeks Director Kawajiri, some of you might care this time round! Shinbo is unique in my spotlights thus far. Kawajiri was a Key Artist, Imaishi is a comedic extreme, and so on, but Mr Tilt-a-head? He's just a commercial and marketing director. The Michael Bay of Anime.
His style is less a real style, more a nostalgia machine turned to 11, and what I might consider his style is actually a business decision to brand a style under his name. It's all very confusing. All through his career, credit is given under different names, sometimes he isn't credited till the final ova, other times he gets credit while working on something completely different. The man is an enigma, but constantly known for trumendous work ethic and grand directorial style choices.
The One Man Studio
When I say Shinbo, you say Shaft... chanting continues
So the hard part begins with separating Shinbo as the studio Shaft, and Shinbo as a director. Outside of his later career with a studio being stamped with his name, I call Shinbo a "One Man Studio" because of a prolific work ethic and a tendency to run mutliple series at a time.
His time with Studio Parriot allowed him to work on a wide variety of genre and entertainment. Working on Musashi Samurai Lord, Marude Dameo, Montana Jones, Ninku, Midori no Makibao, and Kaiketsu Zorro, in mostly unit direction and learning from some great directors and animators. Moving onto doing Storyboard, episode direction, and his first touches to directorial work in Galaxy Fraulein Yuna, and Saber Marionette.
Shinbo begins to display his real director style, and full control of storyboard, when he began to work on YuYu Hakusho. Taking over the Dark Tournament arc, turning the character design to be much thinner and making fights more abstract. Most famously Episode 58 shows Shinbo taking on some of his first strides to the style
... keep reading on reddit β‘
