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indigi posted:Piccolo is ace/aro Pretty sure Goku is too. He's never even kissed his wife. Ghost Leviathan posted:The trick with Dragon Ball Z is the same as the rest of shonen; it's all pro wrestling. You have your babyfaces and your heels, both of them build up cred by plowing through jobbers and taking on colourful mid-carders, building heat and anticipation, they have their signature moves and finishers, and even usually commentators on the side explaining what's going on to the audience. They aren't subtle about this, there's a reason a key part of Dragon Ball was literal martial arts tournaments with a commentator, audience and referees. (and lol the bit where Goku and Jackie Chun actually do a play-by-play re-enactment of a fight sequence that went by too fast for the audience to see) That was Krillin and JC! Krillin always has time for the fans.
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Mar 16, 2024 14:12
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Mr. Satan being a JR analog really loving works
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Mar 16, 2024 14:25
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loquacius posted:https://twitter.com/cosmic_marvel/status/1766535952422273138 I think Madame Web didn't do well is because no one understands what it is e: and it sounds lame
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Mar 16, 2024 14:27
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sonatinas posted:I think Hulu has a separate dubbed version of shogun? thats loving horrible
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Mar 16, 2024 14:30
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when my son started getting into anime I had a talk with him about this is a no dub household, learn to up your reading comprehension
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Mar 16, 2024 14:31
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Scarabrae posted:when my son started getting into anime I had a talk with him about this is a no dub household, learn to up your reading comprehension Subs made sense in the old days when you were just watching a single cel being slid around on a background or, for impact moments, vice versa. Some modern anime has actual animation that people might want to watch instead of reading.
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Mar 16, 2024 14:35
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subs are stupid. you can just read the manga
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Mar 16, 2024 14:39
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indigi posted:subs are stupid. you can just read the manga 
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Mar 16, 2024 14:42
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https://twitter.com/ComplexPop/status/1763225022250864961?t=AEfKm8q8WwT422krmLF_GA&s=19
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Mar 16, 2024 14:54
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KirbyKhan posted:https://twitter.com/ComplexPop/status/1763225022250864961?t=AEfKm8q8WwT422krmLF_GA&s=19
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Mar 16, 2024 15:31
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classic more money = better than logic, sad to see c-spam applauding it
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Mar 16, 2024 16:00
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Dubs v Subs is one of those strange arguments. Internet discourse would make you think there's far more controversy over how people watch their shows, but the last time I saw stats about this issue -- maybe six years ago tbh, so things have probably change a little -- it was something like 90% of people watch dubs.
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Mar 16, 2024 16:25
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subs are the native language. i dont watch live action dubbed either
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Mar 16, 2024 16:42
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KirbyKhan posted:https://twitter.com/ComplexPop/status/1763225022250864961?t=AEfKm8q8WwT422krmLF_GA&s=19 i love vince staples
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Mar 16, 2024 16:52
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Tried to get some friends to watch Parasite one time and they were whining about having to read, it turned into a thing and I called them Philistines.
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Mar 16, 2024 17:07
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Scarabrae posted:Tried to get some friends to watch Parasite one time and they were whining about having to read, it turned into a thing and I called them Philistines. There's a solution here, they could simply learn to speak Korean
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Mar 16, 2024 17:16
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Open Source Idiom posted:Dubs v Subs is one of those strange arguments. Internet discourse would make you think there's far more controversy over how people watch their shows, but the last time I saw stats about this issue -- maybe six years ago tbh, so things have probably change a little -- it was something like 90% of people watch dubs.
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Mar 16, 2024 18:07
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the yu yu hakusho dub was so stupid that it made the show charming
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Mar 16, 2024 18:08
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tristeham posted:straight from the alt right playbook
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Mar 16, 2024 18:16
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mawarannahr posted:I just finished dream scenario and I thought it was one of the better new movies ive seen lately. nic cage was perfect for the role, I liked the awful topics they explored, and the alt right + France stuff was pretty funny. it was also great that it didn't overstay its welcome at about 100 minutes without many dull moments, and they didn't try to shoehorn a happy ending. and lol @ dreamfluencers. 4/5 i thought it was pretty funny that joe rogan was dismissed as being too alt right but tucker carlson was presented as more of a compromise interviewer i got the very distinct impression that whoever wrote that line had never seen a joe rogan or a tucker carlson interview before like if nick cages goal was to talk about how he was the guy who really invented antelligence i honestly cant think of anyone except joe rogan who would not only be interested in the topic he would continue asking questions about it until he completely forgot why this guy was even on the show in the first place
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Mar 16, 2024 18:28
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Brotherhood was the name of a colony in Kitsap County, Washington. In 1898, a journalist named Cyrus Field Willard, enthralled by a utopian novel he’d read, Edward Bellamy’s Looking Backward, purchased some land on Burley Creek by Puget Sound and got busy. In nearby Skagit County, the Brotherhood of the Cooperative Commonwealth had already established a socialist commune called Equality the previous year. The Brotherhood people imagined that soon Washington state would turn socialist and soon after that, America. With that pleasant prospect in mind, they built their commune in a large circle and made their living fishing, chopping wood, and rolling cigars. The first lesson Franklin Patrick Herbert Jr. learned, then, was that some folks took their faith very, very seriously. His aunts, fervent Catholics, gave him another variation on the same theme. And then came the dog. It was an enormous Alaskan malamute. Having spotted the toddler, the animal lunged at him with mauling on the mind. The boy jumped back, and the beast’s tether was too short to allow it to reach its prey. But looking into the dog’s slavering maw, young Frank learned another lesson he’d never forget: Nature is real, indifferent to your feelings, and, often, out to get you. Even if you know none of these biographical details—and leave it to us obsessive nerds to comb the childhoods of our idols for any premonitions of greatness—you’d have no trouble surmising them by reading the novel that Herbert, hardened by a few more decades of life, eventually delivered. Faith, nature, and realness ooze from every page of Dune, making it not only a literary masterpiece but also a test of sorts to anyone contemplating it seriously, which, presumably, includes the Canadian filmmaker Denis Villeneuve, whose Dune: Part Two just hit theaters. What sort of test? For that, let us turn to the Dune universe itself. Early on in the book—and, if you’re in that kind of mood, in Villeneuve’s Dune, the 2021 release that captured roughly half of Herbert’s book, leaving the other half for this year’s installment—its young hero faces a similar ordeal. He’s Paul Atreides, the young and handsome son of one of the galaxy’s poshest royal bloodlines. As the story begins, he’s visited by the Reverend Mother Gaius Helen Mohiam, the she-pope of the Bene Gesserit, a shadowy order of women who run the world behind the scenes. Curious about the contents of the boy’s character, she holds a poisoned needle to his neck and presents him with a plain looking box, ordering him to place his hand inside. When he does, he feels indescribable pain—as if, Herbert tells us, maybe with that hungry hound still in mind, someone was peeling off his skin and reducing his bones to crumbs. To overcome his ordeal and save his life, Paul recites an old Bene Gesserit mantra which has since become one of Dune’s most quoted passages. “I must not fear,” he tells himself. “Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.” Now imagine you’re a filmmaker charged with bringing this scene to life. Sure, you can instruct your young star—in this case, the cherubic Timothée Chalamet—to contort his face from impossibly handsome to merely very good looking, and crosscut these contortions with images of sand and fire while having someone whisper ominously in the background as Hans Zimmer drowns all else in some melodic Middle Eastern ululation. But that would be an affectation, not a revelation, which is a distinction that Villeneuve’s predecessors—his is the third attempt to film Dune—understood perfectly well. First came the inimitable Alejandro Jodorowsky, the Chilean-born son of Ukrainian Jewish immigrants who made his name with delightfully surreal art house hits like El Topo. “I wanted to make something sacred,” he said of his vision of Dune, “a film that gives LSD hallucinations without taking LSD, to change the young minds of all the world.” And if you’re out to change young minds, you might as well change a few lines in the book, too, ending it not with the transformation of young Paul into the Muadib, a prophet who would lead his people, a desert tribe called the Fremen, into jihad—Herbert borrowed the Arabic word, as it fit his vision of a bloody holy war perfectly—but with Paul’s death and the transformation of the desert into a beautiful forest with rainbows and light and joy, “a world illuminated,” Jodorowsky explained, “which crosses the galaxy, which leaves it, which gives it light—which is consciousness—to all the universe.” It’s all perfectly idiotic, of course. It’s also completely sincere, which is why Jodorowsky’s Dune remains a cult hit despite having never been made. Spending millions before shooting one single second of film—including granting Salvador Dali a salary of $100,000 per hour, and indulging Mick Jagger’s similarly extravagant demands—Jodorowsky eventually abandoned the project. It didn’t matter much: The artists he trained, including the sublime and terrifying H.R. Giger, fed off his vision and were inspired by the way he, like Herbert, took faith and nature at their word. Nothing about Jodorowsky’s doomed Dune was metaphoric, allegoric, linear, or commonsensical. His was a world of visions and transcendence, and of violence that didn’t need to be fetishized to be understood and digested. It simply existed, like that hungry dog in Herbert’s backyard. Picking up Jodorowsky’s mantle, David Lynch failed, spectacularly, at converting Dune from book to film. His trial, released in 1984, is wonderfully incoherent, which earned him Siskel and Ebert’s “biggest disappointment of the year” award but also Frank Herbert’s praise. The author realized better than anyone how resistant his ideas were to the sublime simplicity of the silver screen, and applauded Lynch for tossing story and structure aside to make room for pure feeling. Jodorowsky’s doomed ‘Dune’ was a world of visions and transcendence, and of violence that didn’t need to be fetishized to be understood and digested. Copied link https://www.tabletmag.com/sections/arts-letters/articles/the-dune-we-deserve It was into this troubled and hopeless history that Villeneuve gingerly sauntered, armed with an uneven filmography that included some chestnuts (Sicario) and some bloodless bores (Blade Runner 2049). A perennial critical favorite, Villeneueve makes the sort of films that folks who took semiotics classes in grad school are apt to love: just beautiful enough, just engaging enough, not too difficult to follow and yet a little aloof in a way that suggests that if you only thought about them a bit harder, you’d break on through and plunge into new depths of meaning. He is not a maniacal guru, like Jodorowsky, or a daring visionary, like Lynch. He is Canadian. It was tempting, then, to forgive Villeneuve Dune the first. A poutine of a film, it was mushy and lumpy but overall savory, with a lot of exposition being delivered gamely by a superb cast and shot with style and care. But that film was also a promissory note, a guarantee that soon the director will deliver on what we’d all come to Dune to see: the battles, the giant sandworms that roam the desert planet of Arrakis, the rise of the Muadib. In part two, Villeneuve did the best he could to deliver. And that’s precisely the problem. Walk into Dune: Part Two without having watched its predecessor or read the book, and you’ll be … just fine. Villeneueve masterfully adapts the story to make perfect sense, delivering characters whose motivations are clear, whose relationships are architecturally streamlined, and whose story arc is kinetic. In the world of Dune, alas, that’s a death sentence, because faith is rarely as simple or as straightforward as Villeneuve’s shiny manifestations. Without burdening casual readers with the intricacies of a very complicated plot, two immediate examples come to mind. The first is the Reverend Mother. In Herbert’s imagination, the order she leads, the Bene Gesserit, is an extraterrestrial take on the Catholic Church. Though Herbert firmly rejected the religious zeal of his devoutly Catholic aunts, he imbibed much of the insight that comes from embracing religious people not as specimens to be studied but as relatives to be loved and understood. Like the Church, the Bene Gesserit coexist with a faltering and sinful empire, and like the Church, too, they must generate the earthly circumstances to keep their spiritual yearnings viable. The result is an order of extraordinary women, sometimes cruel but deeply faithful, true believers whose pursuit is of prophecy; power is merely a means to an end. Such purity, of heart if not of deed, cannot, of course, exist in a culture that hates religion as much as ours, which is why the Bene Gesserit, in Villeneuve’s telling, become monomaniacal witches interested solely in peddling political influence. Whereas the book’s Reverend Mother delivers profound and uneasy one-liners like “hope clouds observation,” the movie’s version looks and sounds like she wandered off the set of Game of Thrones, a power-hungry sadist who takes pleasure in lording it over the simpletons who do not possess her cunning, connections, or resources. An even more blatant departure is Chani, the female Fremen warrior who becomes Paul’s concubine. In the book, she’s fiercely loyal, not so much to her man as to the spiritual promise he represents. She stands there and watches, uneasily, as Paul makes plans to marry the daughter of another gilded imperial family in an attempt to stave off galactic war. But this is 2024, and no vision of female agency is permitted unless it goes full Beyonce and asserts its independence, repeatedly and in the most obvious, performative ways. Portrayed by the terrific Zendaya, Villeneuve’s Chani may as well be wearing a “smash the patriarchy” T-shirt: She quarrels with Paul endlessly, doubts his religious revelations, and is generally a downer. In one notable but inevitable-seeming departure from the novel, she wastes not a second after his proposal to another woman before dashing off, hopping on a sandworm, and riding away to freedom and independence. Who, after all, in 2024, can imagine a world in which anyone believes in any cause higher than girl power? Who can conceive of a moral order predicated on anything other than the dictates of intersectionality? Not Villeneuve, which means that his Dune: Part Two, as splendid as some of its details are to contemplate, is as completely and utterly sterile as any new luxury hotel in Dubai. Without instilling in his characters the realness of belief—that is to say, without allowing his Fremen to be Fremen, not modern, solipsistic creatures that yowl about the future being female—what the director of our latest Dune has given us is the digital equivalent of a sandstorm: awesome while it lasts, then wiped away without a trace. Even nature has been sliced into metaphor: Those sandworms, so menacing in Herbert’s novel, have, in Villeneuve’s telling, been so thoroughly tamed as to be nothing more than toothy Ubers, summoned for a ride with the click of a button, more convenient than terrifying. What do you get when you rob faith of its magic and meaning and reduce it to metaphor? First, a very boring film. And second, license to make the film mean just about anything you want. The consistently craven New Yorker even managed to review the film as a metaphor for Israeli aggression post-Oct. 7. “The movie,” cackled the world’s once-greatest magazine, now the upscale prose equivalent of Kamala Harris, “pitting Fremen fundamentalists against a genocidal oppressor, can scarcely hope to escape the horror of recent headlines.” Actually, as The New Yorker knew back when it was run by much smarter and more soulful men and women, great works of art can escape the headlines with ease, because they are committed to big ideas, not slick and comforting conventions. They make us uncomfortable, as Frank Herbert’s book did when it ended with the Muadib realizing that his followers were about to shed much blood and plunge the universe into decades of violence. Villeneuve ends his with Chalamet triumphant. The goodies have defeated the baddies. The damsel rescued herself, of course. Nothing more to see here, folks. Not a stick of furniture is out of place. One day, inshallah, we’ll get the Dune film adaptation we deserve, a Dune that takes faith seriously and isn’t afraid to go a little gross and a little crazy trying to understand how and why we humans believe the things we believe. But as long as our pop cultural industries remain in the hands of men and women drained of all serious religious and moral imagination and intention, we’re better off with books.
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Mar 16, 2024 18:29
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i say swears online posted:the yu yu hakusho dub was so stupid that it made the show charming the yyh dub was legit really good
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Mar 16, 2024 18:52
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dubs have got a bit better lately but they still mostly suck. There's something always off about them, even if the voice actors are amazing it always feels like they're not in the scene, like the ambiance is hosed so i can tell they're in a sound booth. Maybe the fact I can't understand the spoken language helps me not notice that poo poo when i'm using subs.
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Mar 16, 2024 18:55
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I feel like a right dumbass for hesitantly... liking the new walking dead show, so far it's like "what if big boss made mother base in zombie world" I am judging myself but I'll keep watching that slop
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Mar 16, 2024 18:56
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Regarde Aduck posted:Maybe the fact I can't understand the spoken language helps me not notice that poo poo when i'm using subs. it's this, always has been
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Mar 16, 2024 18:58
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Buck Wildman posted:it's this, always has been no it’s not dubbing is lower priority than the original voice tracks, receive less time and money for production (especially in the case of simuldubs) and is naturally limited by having to navigate a complicated language barrier while matching lip movements that have already been animated Augus has issued a correction as of 19:04 on Mar 16, 2024 |
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Mar 16, 2024 19:00
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One Piece's english VO work is goated, plus there are over 1000 episodes. It's the only anime you need to watch other than Legend of Galactic Heroes
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Mar 16, 2024 19:00
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Augus posted:no it’s not yes it is, only self important weebs think otherwise
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Mar 16, 2024 19:01
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if you really think anime dubs are bad i suggest you listen to one of those godawful netflix live action dubs
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Mar 16, 2024 19:04
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I'll watch dubs sometimes for something that's animated but never live action. Not even once.
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Mar 16, 2024 19:06
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Buck Wildman posted:yes it is, only self important weebs think otherwise idk about you but my ears and brain don’t automatically shut down whenever I hear someone speak another language
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Mar 16, 2024 19:06
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whatever you say guy
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Mar 16, 2024 19:07
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sometimes i might dislike a dub for radically changing the tone of the original but thats a distinct complaint compared to the voices actually being bad like the good japanese voice for lucius in thermae romae novae communicates that hes austere and honorable the bad english voice makes him sound like a douchebag a truly awful voice would just be reading the lines with no intonation whatsoever
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Mar 16, 2024 19:10
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I love Yu Yu Hakusho and long rear end video essays https://www.youtube.com/watch?v=uEFiYJMCxyo
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Mar 16, 2024 19:10
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it great when a movie where all the actors are non-Angloid but are made to speak English. The Mehmet the conqueror series on Netflix was all done with the actors forced to speak English and it's pretty funny imo.
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Mar 16, 2024 19:12
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Buck Wildman posted:whatever you say guy you don’t need to be fluent in Japanese to notice lovely sound mixing, dude.
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Mar 16, 2024 19:14
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i refuse to listen to a dub unless you can hear the original voices under it because the dubbing company didnt know how to separate audio tracks and didnt have the budget to hire someone who did
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Mar 16, 2024 19:15
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FirstnameLastname posted:i love vince staples
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Mar 16, 2024 19:15
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KirbyKhan posted:I love Yu Yu Hakusho and long rear end video essays i love that the woman and the boss king jr or w/e decided to adopt 1940s dick tracey accents for zero reason
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Mar 16, 2024 19:18
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Malleum posted:i refuse to listen to a dub unless you can hear the original voices under it because the dubbing company didnt know how to separate audio tracks and didnt have the budget to hire someone who did I would just watch it subtitled at that point, sounds like a weird way to listen
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Mar 16, 2024 19:25
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