Quoted By: >>11095814
The Sword of Magus stands opposed to the protagonist of the last /m/ show you watched.
How fucked are they?
How fucked are they?
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Threads by latest ghost replies - Page 150
Quoted By:
Do you like the design of 00 raiser?
Quoted By:
Is there any manga that continues the original story of Cutey Honey, or should I just jump straight into one of the anime adaptations?
Quoted By: >>11075317 >>11075534
Why can't we enjoy nice things now that we have them? Why do we let troll(s) ruin our enjoyment and discussions?
Quoted By:
>mc is one of three able to operate Gundam
>he is also a genius
>fall in love with the enemy at first sight
>join the enemy organization
Haha oh wow
Bravo Tomino
r
a
v
omino
>he is also a genius
>fall in love with the enemy at first sight
>join the enemy organization
Haha oh wow
Bravo Tomino
r
a
v
omino
Quoted By:
This is one of the silliest hairdos I've seen in a mecha show since Vestemona's
Quoted By:
Hey /m/, dream with me for a minute here. An alternate history, if you will.
Imagine it's 1987. Gainax releases Wings of Honneamise in Japan not only to critical acclaim-- but to enormous financial success, thanks to an expertly planned marketing campaign. It recoups its production costs, makes a healthy profit, and becomes an overnight industry success story. Gainax is flooded with cash, announces a partnership with Sunrise, and gets full creative control on its next big-budget project.
The following year Hiroyuki Yamaga writes & directs his follow-up film, a story of android fighter pilots on the moon, wrestling with themes of artificial intelligence and the meaning of war. Two years later, a talented animator named Hideaki Anno makes his directorial debut with a serious-minded art-house space opera (involving time dilation, quasi-religious alien invaders, and psychological trauma) which instantly becomes a hit at international film festivals.
Studio Gainax is now known as "the Ghibli of Science Fiction."
There is no "Gainax bounce." No skin-tight outfits. No unnecessary fan service. Not even.... giant robots. Localized versions of Gainax's and Ghibli's mature and thoughtful movies impress the independent film crowd in the West, inspiring a number of directors to try their hand in the genre as well.
Animation in the U.S. becomes seen as an interesting new medium, especially for science-fiction, less constrained by Hollywood's nepotism, star system, ballooning budgets, and art-killing demands.
It's now the late 1990s / early 2000s. Various animated classics (Japanese and otherwise) are regularly included in film school curriculums. There's no such thing as "anime fans"-- just "animation buffs."
And we all have normal, healthy, rewarding social lives.
Cheers.
Imagine it's 1987. Gainax releases Wings of Honneamise in Japan not only to critical acclaim-- but to enormous financial success, thanks to an expertly planned marketing campaign. It recoups its production costs, makes a healthy profit, and becomes an overnight industry success story. Gainax is flooded with cash, announces a partnership with Sunrise, and gets full creative control on its next big-budget project.
The following year Hiroyuki Yamaga writes & directs his follow-up film, a story of android fighter pilots on the moon, wrestling with themes of artificial intelligence and the meaning of war. Two years later, a talented animator named Hideaki Anno makes his directorial debut with a serious-minded art-house space opera (involving time dilation, quasi-religious alien invaders, and psychological trauma) which instantly becomes a hit at international film festivals.
Studio Gainax is now known as "the Ghibli of Science Fiction."
There is no "Gainax bounce." No skin-tight outfits. No unnecessary fan service. Not even.... giant robots. Localized versions of Gainax's and Ghibli's mature and thoughtful movies impress the independent film crowd in the West, inspiring a number of directors to try their hand in the genre as well.
Animation in the U.S. becomes seen as an interesting new medium, especially for science-fiction, less constrained by Hollywood's nepotism, star system, ballooning budgets, and art-killing demands.
It's now the late 1990s / early 2000s. Various animated classics (Japanese and otherwise) are regularly included in film school curriculums. There's no such thing as "anime fans"-- just "animation buffs."
And we all have normal, healthy, rewarding social lives.
Cheers.
Quoted By: >>11072533
Why are mecha show nowadays shit?
Quoted By: >>11070860,1
What's /m/'s opinion on Overman King Gainer?
Quoted By: >>11069510
With the recent influx of mech anime I propose to you a few questions:
What was/is you favorite?
Which one was/is the best?
Which one was the worst?
Which one was/is the most entertaining?
Which one was/is the most promising?
Which one has the best designs?
Which one will you remember most?
What was/is you favorite?
Which one was/is the best?
Which one was the worst?
Which one was/is the most entertaining?
Which one was/is the most promising?
Which one has the best designs?
Which one will you remember most?
