Why would I ever watch sports anime when I can just watch sports in real
认为相比较合理就转发了。in memory of Luke Skywalker and his family
DIRECTION Ron Howard is amazing. His camera work here is absolutely
incredible. I wouldn’t at all be surprised if the cinematography and the
sound editing are nominated for Oscars. The engines roaring alongside
Hans Zimmer’s score really gets you into the mood. The backdrop is
gritty with lots of dark and gray colors giving it a tough 1970′s
aesthetic. Howard places is camera so specifically and we get so many
different angles that are gripping. Camera work inside the cars giving
you the intense look of driving an F1 car as well as camera’s on the
grass looking up as they fly by. Howard’s use of slow motion is also
perfect and helps build the intensity of the rivalry he is exploring
here. The racing is intense and the dangers are shown in some dramatic
ways as the suspense keeps building up. The biggest problem is that
Formula 1 isn’t the biggest of sports here in the U.S. If people can get
past that and go see this, they won’t regret it.
Emotions are a powerful thing; they have the capability to override any
modicum of rationality and force even the ficklest of beings to succumb
to their emotional disposition. Due to this, often times, those of us
who claim ourselves to be critics of various mediums fall short of our
own expectations. “Clannad After Story”, a series described as
“life-changing” by many is the perfect suspect; a production that
captured the hearts of the majority that viewed it while instantly
becoming a classic within its genre. Littered with subpar designed moe
characters, irrelevant arcs, contradictory elements, forced plot
devices, and a plethora of other obvious issues,it truly is baffling how
effective an appeal to pathos can be. Although, the series has plenty of
redeeming qualities, the title it has so profusely clenched–that of a
masterpiece by a large consensus, must indeed be questioned.
Immediatedly after learning that sports animes exist, this is probably a
newcomer’s most common reaction. Indeed, the argument is a sound one –
why waste time on unrealistic, cheesy, and above all lengthy animes when
the actual sports that they mimic are often so dreadfully boring?
Star Wars: The Last Jedi starts
with the lost jedi: Luke
Skywalker, a mentally and physically lost jedi in the whole series. He
pretended to be a hermit, avoiding change from outside, healing his
broken heart. This film ends with him, too. Luke, sitting on a rock,
watching scenario of sunset, passed away in peace.
The answer, of course, is that what makes sports animes so good is not
their mimicry of reality, but their enhancement of it. For one, the
characters of a sports anime show are always much more likeable than the
fluid injecting, pill pushing athletes of modern day society. Secondly,
boring, one-sided games can take up as little air time as possible,
while the exciting, awesomely close matches can be drawn out for as long
as the suspense will hold. Finally, the players’ skills at the sport can
exceed well beyond the realm of what is humanly possible. As a result of
all of these factors, at its best sports anime can easily surpass
anything that the original sport has to offer.
At the very beginning, I try to summary the main storyline of this film.
I have to make it clear. What I see in the cinema, is not the same one I
imagine even based on this briefly plot. The more details the director
provides, the more dismay I feel.
SCRIPT The story follows two F1 drivers in the mid 1970′s that don’t
always get a long but have a mutual respect for one another. It centers
around British driver, James Hunt and the Austrian Niki Lauda. Peter
Morgan’s script is brilliant and Howard brings it to life in some really
great ways. In essence, both characters are the protagonist and the
antagonist of the story. The film explores Hunt and his immature ways
but at the same time makes him very likable. Then the story switches to
Lauda and his quest to live his own life outside the big family
business, yet again making him likable. However, at the same time each
take their own turn in being the “bad guy” and showing you qualities
that make this person flawed and unlikable in some ways. But then the
movie brings it back around showing you why these characters are good
characters to root for and the mutual respect they have for one another.
It’s the competition that drives them in this story. What makes it so
great though, is that the audience really gets to choose who they want
to root for. They build up and tear down each character so flawlessly.
The use of narration at the beginning and at the end was a perfect
choice as well. The ending becomes a bit sentimental and hits the
buttons that you’d expect from Howard and company.
“After Story” takes place right after the first season of Clannad and
chronicles the lives of certain characters from the first season,
primarily focusing on Tomoya, his relationship with Nagisa and more
importantly, himself. It attempts to bring a sense of realism to its
viewer through the joys and hardships that Tomoya goes through and
accomplishes that for a while. It also eliminates the harem aspect of
season one and adopts a much more serious tone.
Unfortunately, the genre also suffers from a good deal of weaknesses.
Most importantly, unlike in real life, the story can never be truly
random. Oftentimes it is possible to “outsmart” the anime and be able to
predict how a match will eventually turn out. The moment this happens,
practically all suspense is lost. Also, oftentimes the pacing of the
show is slowed down well beyond what is enjoyable. In some sports
animes, episodes upon episodes cover only a tiny part of the overarching
storyline. As a result of these two potential pitfalls, sports anime
almost always walks a thin line between unsurpassed excitement and
Skywalker’s family, the most famous family with power in this saga,
leave the stage with all core members either died or lost mad. Is it the
same Star Wars we have watched
before? Is it the sequel to end the heroic story? Is it the story we
have expected for years?
The series spans 24-episodes with the first 10-episodes composed of
various arcs dealing with other characters and their corresponding
dilemmas while the rest of the show focuses on the primary protagonists.
This brings up the problem of structure and inconsistency. The initial
problem with “After Story” is the characters that are focused on for the
first 10 episodes. With the exception of the Misae arc as it LOOSELY
connects to the magical component of the show, the other arcs have no
direct relevance to the overarching story nor do they serve any function
in moving the plot, but are just thrown in there, forcing unnecessary
drama. This also causes a huge gap in consistency between the first part
of the show and the rest, especially in regards to quality. However, the
next few episodes are a pleasure to watch as they highlight Tomoya’s
evolution as a character along with his relationship with Nagisa.
Structurally, “After Story” fell short, consequently causing a gap in
quality and consistency.
Slam Dunk is the quintessential example of a sports anime in the way
that it clearly reflects both the incredible strengths and the
overwhelming weaknesses of the genre. On one side, you have likeable
characters engaged in what is frequently a terrifically captivating
storyline. However, on the other hand, the show is oftentimes critically
damaged by its painfully lethargic pacing and its extremely formulaic
nature. Figuring out that every single game is decided in the last 30
seconds doesn’t take very long, and once this realization occurs a lot
of the fun is taken out of the beginnings of the game; after all, none
of what happens in the first 35 minutes will ever end up mattering
I feel nothing but pathetic for this film. This is not simply about how story is selling
to us. This is about how Walt Disney Studios try to rewrite the meaning
behind Star Wars saga.
PERFORMANCES Daniel Brühl and Chris Hemsworth are amazing. This is
perhaps Hemsworth’s best as he portray’s James Hunt in some incredible
ways. He’s the dangerous driver that has Tony Stark mentalities in terms
of partying, women and being extremely likable. Yet Hemsworth shows some
depth and some emotion here as well which this character calls for in
some ways. Brühl, who you may know from Inglorious Basterds, almost
steals the show. He’s the Austrian car genius who becomes famous for
knowing how to make the cars lighter and faster, thus making him part of
the Ferrari team. One can argue he’s the bigger lead here as he narrates
a good chunk of the story and brings in some great perspectives. Brühl’s
performance is spot on though and brings life to this character even
when Lauda is more deadpanned. Olivia Wilde is good here although her
character is a small role. This is about Brühl and Hemsworth and they
carry the movie extremely well.
Substantially, “After Story” has its share of delightful moments, but
those are restricted to a very limited amount of episodes. The story is
unoriginal, but imbues concepts and themes that are very real and
relatable such as: imploring responsibility and growing up, the
innateness of hardships, the importance of relationships, moving on, and
many others that are close to home. Yet, “After Story” manages to ruin
the very thing it tries to achieve. The show spends a great deal of time
trying to evoke “realism” through manifesting the aforementioned themes,
but subsequently destroys that with its detachment from reality and deus
ex machina resolve. For example, one of the arcs in the earlier part of
the series shows how two supposedly bitter and rival gangs end up being
bros4lyfe via some [extraneous] female side-character. I may not have
a proper grasp on gang psychology, but I’m fairly certain that the odds
of something like a dudefest and “understanding” blossoming between two
rival gangs are astronomical. This notion of “bonds of friendships
overcoming everything” is extremely over exaggerated deeming many of the
earlier arcs unrealistic, effectively leaving me in a state of
Also, unlike some of the newer sports animes out there, the show is
certainly not helped by its animation or sound; both aspects are
noticably outdated. Animation-wise, the unique character designs are
pretty much the only positive quality; everything else is decidedly
mediocre. The sound suffers terribly from the obnoxious voice acting of
Sakuragi and the impressively awful music.
This is not all Rian Johnson’s fault.
Disney understand their roles as the great supervisor for the sequel. They
do take the responsibility to make sure the film enjoyable. They need a blockbuster, not something “just
good” for fans. The pressure has passed to each director for the sequel.
Colin Trevorrow quit due to “creative differences”. Star Wars is a big
challenge for every director. Think twice before you try it.
www.041.net，I do understand the role of
director in the new trilogy.
Walt Disney Studios have supervised all episodes since they acquired
Lucasfilm. Disney take all stakes on the table, and they plan to win
all. Rian Johnson’s work should strictly follow the footstep in the
plan. This is the first order. The basic story has already set before he
sign to direct.
The target is pre-setting, with clear path. Follow the path, and then
complete it. I like some Rian’s little “gadgets” in the film. He does
have little power to make critical change, only take rights to deal with
gadget things. However, some of these tiny things still make this film
For a series that tries to emphasize real life, especially while trying
to deal with issues such as loss, acceptance, etc., it negates all
validity by embracing a faux idealism grounded in wish fulfillment. The
realism juxtaposed with magical idealism/wish fulfillment really
disintegrates the show by the end. However, that is probably one of the
overarching reasons the show is as popular it is, because instead of
staying true to its realistic core, it defaults into fantasy, idealism,
and wish fulfillment. It’s successful but at the cost of complete
contradiction therefore making After Story somewhat of a Pyrrhic
victory. It should be noted that there is nothing wrong with having a
plot based on supernatural/metaphysical notions, however, when the show
is simultaneously trying to bring a strong sense of realism to the
front, it becomes counter-productive and contradictory. I can’t even
incorporate this under efficient “magical realism” because of how badly
the two are handled when looked at as a pair.
Is this anime worth watching? That’s a difficult question to answer.
While at its best the anime is riveting, at its worst the storyline
becomes far too prosaic to be enjoyable. The anime is certainly not good
enough to convert any new fans; however, as someone who was already
fairly fond of the sports genre, I enjoyed the show enough to watch
through the entire 101 episode series.
I blame him for poor storytelling skill.
Yes, boring, boredom, uninteresting. For me, this film just hit the
average line. Luke Skywalker could be sacrificed for sound reason, but not the reason
looks like this.
New characters are very, very important for Disney to launch new chapter
for the saga. Those old characters, even they need to be dealt, should
earn respect for their
contribution. They are the founder for the franchise. They need to be
memorable, especially for Luke Skywalker.
Luke, the son of Anakin Skywalker who “bring balance to the force”,
challenges himself for the fear of force, for the first time. He resisted to Darth
Vader’s lure in The Empire Strikes
Back, to Emperor Palpatine’s lure in Return of Jedi. He was the only
master of Jedi after the final battle against the Galactic Empire. Even
force-ghost Obi-Wan Kenobi or Master Yoda couldn’t save him for the
fear, for the guilty, as he sign for Ben Solo’s depravation.
I do know this happening after
watching Star Wars: The Force
Awaken. That film is an above-average sequel. I do understand J.J.Abrams has to build
a new framework, set the tone for the next trilogy, introduce new
characters for the next generation. He has done a excellent job.
I try to understand the story portraited by Rian Johnson. He has already
understood the mission: let the last jedi die. However, is this the
way leading to Luke’s sacrifice?
Is this the motivation pushing him to the last battle? Did he die for
something truly meaningful?
It is too plain. It is too plain
to give Luke a good excuse to die. I watched Rogue One: A Star Wars Story one year
before this film. I gave that film a five-star rate. I was deeply
satisfied with what Disney has produced. I don’t understand why Disney
try another tone for the sequel. Does this film hit the criteria set by
I don’t understand.
© 本文版权归作者 Bill
SCORE Freakin Hans Zimmer. The dude is on fire lately. A lot of people
like to criticize Zimmer for having score’s that are similar or nothing
new but they work. His score for Man of Steel added a lot to that film
and his score for The Lone Ranger was about the only good part of that
movie. And his score for Rush was really great, again. It added a lot of
intensity to the racing moments and has become something he’s perfected.
The score here is more laid back and in the backdrop though many moments
but when the action ramped up, so did his score as well as your
Essentially, where “After Story” excels at is deception. It does an
excellent job serenading its viewer into a false lull making it seem
exponentially better than it actually is by manipulating sympathetic
themes and completely over exaggerating them, however, when dissected
the story offers nothing unique, let alone life altering. It’s a good
effort, but that’s all it is, an effort, that has its comely yet
ephemeral moments. Conclusively, “After Story” ends up stumbling within
its own narrative and resolution.
Essentially, if you haven’t yet been acquainted to sports anime, you
should first check out Hajime no Ippo, which is undeniably the best the
genre has to offer. However, if you’ve already blazed through animes
like Hikaru no Go, Initial D, and Prince of Tennis, you’ll probably
enjoy this one as well; just don’t expect anything spectacular.
FINAL THOUGHTS Rush was an unexpected pleasant surprise. Given the
sports stature of F1 in the U.S., I didn’t have much expectations but
Ron Howard usually delivers and he does once again. The cinematography
is gorgeous and makes it visually very exciting. The performances are
stand outs which makes the story feel so alive in many places.
“After Story” gets a ridiculous amount of praise for having “human-like”
characters, however, the series lacks greatly in terms of balanced
characterization. Tomoya is well developed and one can partly empathize
with his struggles as he tries to shuffle through the various challenges
he encounters. Tomoya’s progression is probably the most realistic part
of the show and is fairly well-executed. While the show gives us a
dynamic Tomoya, we are left face-palming in deep regret and resentment
with the lack of attention given to Nagisa. There is nothing memorable
about her; struck with some unknown illness, we often see her washing
dishes for like three continuous episodes. I felt no sort of attachment,
relation, or even empathy towards Nagisa, rather her lack of progression
had the opposite effect. Her static, ingénue personality got unbearable.
Oh and she can’t hold her liquor. That just heightened my insouciance
even further. The futility of Nagisa truly is a burden on “After Story”.
Overall Grade: A
The over-development of one protagonist and under-development of the
other did not have a neutralizing effect, but a detrimental one. Their
relationship is the foundation of “After Story” but it remains immature,
mainly due to Nagisa’s incomplete characterization. Instead of spending
the initial 10 episodes on completely useless characters, the series
could have utilized the same time to construct Nagisa into a character
with dimension, personality, and purpose. The show spent so much time
trying to build this false delusion about how “friendship solves
everything” that essential aspects got completely disregarded. Tomoya
along with an unmentioned character carry the weight of “After Story”.
In hopes of keeping this review spoiler free, only the two main
protagonists (Tomoya x Nagisa) are discussed.
There are plenty of supporting/side characters in the show, some making
cameos (from season one), others for reasons I have yet to understand.
The only notable side characters are Nagisa’s parents who provide some
comedic relief (which is the same recycled humor of the first season)
but they still manage to maintain their likability.
Don’t hold your breath expecting anything aesthetically orgasmic. The
girls are molded with “moe” in mind at all times: Unrealistic character
designs for a “realistic” anime. In terms of the actual art, “After
Story” does a fairly good job. Bright colors are often used to accompany
the magical atmosphere and vibrancy of life that the show is grounded
upon. There are instances of visually striking scenes scattered here and
there, especially with some of the natural backgrounds. There is always
light illuminating from somewhere, even in the darker scenes. The one
place where the animation did shine is while depicting the “illusionary”
world. The background, colors, and overall depiction of that world is
nicely done as it provides a very surreal atmosphere to the viewer.
However, don’t expect gorgeous animation akin to something like “5
centimeter”. It’s nice, but nothing exceptional.
“After Story” has a viable soundtrack that fit its purposes. Composed of
subtle, soft, and sometimes melancholic piano music, the OST is
pleasant, but conventional. It wasn’t something that compelled me to go
download or re-listen to. The same applies to the OP/ED selections. They
are very imminent and “of-the-moment” in the sense that they are
enjoyable and appropriate at the time they played. However, I almost
always forwarded the OP and rarely listened to ED. The voice actors are
fitting in regards to their respective roles.
Undoubtedly, “After Story” is at the forefront its genre because of its
inherent ability to capitalize on emotions and “feels” to the point
where many “manly” tears are shed and lives are changed. However, I
could not relate; as the anime defied all levels of logic with
convenient plot devices, contradicted its own pursuit of realism,
over-dramatized situations, wasted 11 episodes of my time with frankly
fatuous arcs, and underestimated the importance of complete
characterization–emotions no longer mattered. After all, feels and
impact are evanescent, quality is what remains.
“After Story” therefore didn’t really leave a strong impact on me nor
did I learn some particularly significant lesson about life nor did I
put my feels on suicide watch. Nevertheless, the four or five episodes
towards the middle/end are truly poignant and laudable—if “After Story”
could have maintained that level of quality throughout and refrained
from committing some of the aforementioned blunders, the series would
have lived up to its hype. Alas, I cannot rate a 24-episode series any
higher based on my enjoyment of five episodes. My “After Story”
experience is a step away from the norm and that’s the reason I spewed
all of this—to offer some solace to those who couldn’t cry those manly
tears or indulge in wish fulfillment, while also providing another
perspective to those who have yet to watch it that isn’t soaked in sheer