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I liked this AMV to Feed the Machine (anime-only, no spoilers)  It's harder to find old-school stuff like this now, but it's still out there! (eta I am bad at BBCode, hopefully this works)https://www.youtube.com/watch?v=yDqsXAY6bv0
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Feb 24, 2023 14:07
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THE AWESOME GHOST posted:https://vt.tiktok.com/ZS8uwAEoH/ smooth as helll imo
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Feb 24, 2023 16:04
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what is the IRL shrine from ep 9. thanks.
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Mar 4, 2023 06:39
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TenementFunster posted:what is the IRL shrine from ep 9. thanks. I don't know if it's the one that Fujimoto referenced, but the factually highest shrine in Kyoto is Atago
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Mar 4, 2023 07:43
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OnimaruXLR posted:I don't know if it's the one that Fujimoto referenced, but the factually highest shrine in Kyoto is Atago e:  hrmmm maybe not. gonna comb through "kyoto shrine" GIS results. i mean, how many could there be? e2: oh god please don't be the warcrime shrine TenementFunster fucked around with this message at 23:34 on Mar 4, 2023 |
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Mar 4, 2023 08:10
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TenementFunster posted:e2: oh god please don't be the warcrime shrine It's not, Yasukuni is in Tokyo and looks different. It's also in the middle of Tokyo, north of the Imperial Palace so it's not at a high elevation. I'm going to guess they combined elements of a bunch of shrines to create one or just chose a minor one as the basis. It's very generic looking, not that Shinto shrine but uncannily close. RocknRollaAyatollah fucked around with this message at 15:46 on Mar 6, 2023 |
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Mar 6, 2023 15:20
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TenementFunster posted:god bless ... yes. Yes, how many shrines could there possibly be in kyoto. The answer is over 400. If you count temples it's over 2000
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Mar 6, 2023 15:35
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TenementFunster posted:god bless Looks a lot like Omiwa Shrine 
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Mar 6, 2023 19:07
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Snowglobe of Doom posted:Looks a lot like Omiwa Shrine  Supremezero posted:... yes. Yes, how many shrines could there possibly be in kyoto.
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Mar 6, 2023 22:37
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TenementFunster posted:that isn't From Kyoto at all! It'd be pretty funny if someone was actually going through all the shrines in Kyoto trying to find one that fit and I just did a reverse image search and found a near-perfect match in 30 seconds
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Mar 7, 2023 05:25
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Snowglobe of Doom posted:It'd be pretty funny if someone was actually going through all the shrines in Kyoto trying to find one that fit and I just did a reverse image search and found a near-perfect match in 30 seconds  i can’t believe they didn’t use one of the zillion actual shrines in town?!
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Mar 7, 2023 05:32
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Goodbye Eri is out in paperback. If you haven’t ready anything else by Fujimoto, it’s gotta be the other thing I recommend over all others. It’s definitely my favorite thing of his that isn’t chainsaw man.
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Jun 29, 2023 13:06
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Both of his one shots, Goodbye Eri and Look Back, are fantastic.
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Jun 29, 2023 16:20
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Mappa are making the next arc as a movie, it looks like. https://www.youtube.com/watch?v=mWacdcatC9o Hopefully this means they can go oven further beyond in terms of animation but also I hope I'm able to see it in theaters because who knows when it'll get to streaming.
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Dec 18, 2023 03:00
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that would mean being in an enclosed space with chainsaw man fans though (USER WAS PUT ON PROBATION FOR THIS POST)
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Dec 18, 2023 03:20
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I've been watching this after reading and liking Goodbye Eri a lot I was enjoying it quite a bit, but kind of not seeing how it was the same writer. Just watched episode 8 though and lmao that was loving insane. Already feeling like I'm gonna head straight to the manga after the next few eps
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Jan 7, 2024 11:49
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Paperhouse posted:I've been watching this after reading and liking Goodbye Eri a lot The next few arcs in the manga will help you see "yeah this is definitely the same author". I like the anime, but it stops right before the story finds its stride. At the time I really wished it had been 20 episodes instead of 12, but we're getting a movie now so I guess it all worked out.
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Jan 7, 2024 11:57
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Was discussed a bit in the manga thread: The next arc being made a movie is a great choice because it'll stand well in isolation, lead into the second season perfectly, and leave extra room in the series proper for the insanity that follows.
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Jan 8, 2024 00:40
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Paperhouse posted:I've been watching this after reading and liking Goodbye Eri a lot Fujimoto has a few common throughlines in his work from what I've seen: -The world is irredeemably fallen and corrupt -Humans on the whole will tend to abuse power and authority and skew toward selfishness and tribalism -Traditional family structures are woefully inadequate -Social misfits who are real weirdos and don't have much in common, but come to cherish each other -Questioning the human/monster binary -The greatest super power is ultimately the ability to endure and get back up in spite of how lovely existence can be -The transformative power of art (especially cinema) on its audience I think one of the things that makes his art compelling is that he is pessimistically hopeful, in a way. He tells stories where things actually do matter--human connection, love, friendship, kindness. These things might not be able to withstand violence or death, but they do matter, and they mean enough to keep going. So even when things go tragically for characters, Fujimoto's stories are never nihilistic. The hyper violence and strung out aesthetics are like a pressure cooker for his characters. Their situations are so intensely desperate that they have no choice but to confront the things that really matter, because they don't have the luxury of taking anything for granted.
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Jan 8, 2024 02:18
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Cephas posted:Fujimoto has a few common throughlines in his work from what I've seen: I'm not so sure about this one. To start with, traditional family structures are pretty rare in Fujimoto works, rare enough that a broader judgement is difficult. Secondly, though, the ones we see tend to be gone. Aki's family and Yuta's family both break before the series proper starts, only seen in flashback. They're not a failed model. They're closer to (although this is almost as bad a description. Even functional Fujimoto families are still kind of a mess) a lost Eden, a dream of something that worked and that now has to be rebuilt with broken tools. The ramshackle families that Denji, Aki, and Agni form aren't as much better than the blood relations they lost (well, Denji's father wasn't much of a loss) as they are a working replacement, a way to survive with the conventional guard rails destroyed. (I'll also note here that Yuta's mom is mostly terrible, but his dad is great, and he was happy with his off-screen regular family until the car crash. An odd inclusion if the conventional family's failure is a focus) While I'm at it, I'll poke at the theme of immortality, because it's not just shown as a power. In Fire Punch, it's as much a curse as anything, with "Live" driving Agni deeper and deeper into Hell. To go to Romero (I'm sure Fujimoto would approve) the film Day of the Dead has the protagonist, Sarah. Although she's a regular mortal, not cursed to undeath, she has a similar emotional durability. Where everyone around her cracks up or drops out, she continues to do her job in the face of Armageddon and futility... and that's kind of her crippling flaw. She keeps going even as people hate her for it, even as it loses any point, and while it leaves her in a better place than most of the cast, she still loses almost everything that matters. That kind of endurance isn't to be envied, even when it's admired. (I'd also point out that very dangerous (and mentally questionable) women are another major recurring theme, to the point of it coming up in interviews.)
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Jan 8, 2024 02:58
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I mostly mean the idea of "parents as moral authorities for children" is basically a joke in Fujimoto's work. This is the anime thread so I can't say too much, but even Yuta's dad in Goodbye Eri fails to intervene when his son is being psychologically abused, and he's probably the most sympathetic parent character in a Fujimoto work. Fujimoto's families are bad-to-extremely-bad most of the time (if you include parent-surrogates, Fujimoto characters with a history of bad home lives include Denji, Kobeni, Asa, Yuta, and Agni, which I think is enough to constitute a pattern), and the few that seem okay tend to get wiped out of existence by outrageous fortune. So I mean like, in a Fujimoto work, family as an institution is unstable ground. Families are not inherently good, the adults in charge are not inherently trustworthy, and what you have can be taken from you by forces outside your control. That's what I mean by inadequate--you can't point to "mom, dad, and kids" as an example of order and security, because nothing about it is actually secure. That sort of disruption in meaning-making is definitely very traumatic to the characters, and it's one of the central driving forces behind the plot and themes of Chainsaw Man, especially with Aki. and you know, the thing about immortality in Chainsaw Man and Fire Punch is that it's not just immortality. Their powers are immortality+torture. Agni can't die, and he's constantly on fire. Denji can't die, and his flesh and brain are being torn apart by chainsaws. The one type of immortality that seems to get a free pass are works of art, which have the quality to reunite the living with the dead in Goodbye Eri and Look Back. mostly what i'm saying is that Fujimoto's works tend to be about harsh, absurdist worlds that seem hostile toward lasting joy, where institutions have (as you pointed out) tended to have already eroded before the story even began or before the characters were even born. Because the institutions have eroded, there is no clear path to finding meaning or serenity, so the characters have to live desperately and try to find meaning with no useful roadmap left behind for them to follow. and powerful women will either try to destroy you or talk your ear off about movies, quite possibly both.
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Jan 8, 2024 05:12
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Cephas posted:
It doesn't reunite the living and the dead in Goodbye Eri. In fact, that's half the point of the ending, with the fake Eri from the film overwriting the real Eri in the memory of, well, Eri. (Hence the final explosion.) Both Goodbye Eri and Look Back question the value of art as much as they affirm it. While the video let Eri's friend remember the real her fondly, it also presented a lie to anyone not already familiar with the full picture, similar to how it made Yuta's mother a pasteboard saint, rendering his attitude towards her incomprehensible to most of the class. Similarly, the Fujino who stuck with the real world rather than art was the one who was able to save the day. Art just left a memory. It's not that Fujimoto is down on the arts, obviously. But Look Back's whole foundation was Fujimoto's feelings of helplessness after the Tohoku earthquake, wondering if there was any point to his efforts in comparison to the real world. The idea that it's a free pass form of immortality is odd in the context.
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Jan 8, 2024 09:02
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chiasaur11 posted:It doesn't reunite the living and the dead in Goodbye Eri. In fact, that's half the point of the ending, with the fake Eri from the film overwriting the real Eri in the memory of, well, Eri. (Hence the final explosion.) I guess that depends on your view of the events of Goodbye Eri. I take the ending where he meets her again to be some kind of trick editing, either splicing Yuta as an adult into old footage of Eri, or by recruiting Yuta's dad to play an adult version of Yuta. I don't believe that Eri is actually a vampire. As I read it, the artmaking process allows the protagonists to process grief by transforming the inexplicable trauma of death into a narrative that they have the freedom and power to shape. They create the simple version of the story where Eri dies in her hospital bed as a blockbuster, but the ultimate version of the film, which spans from the first page of Goodbye Eri to its last page, is shot with footage outside of chronological order. Eri dying in the hospital bed is a historical fact, but the filmmaking process allows them to transcend historicity and create a "better" narrative where she lives on as a vampire and meets Yuta in the future. It lets them say goodbye on their terms. The difference between Yuta & Eri's film and Yuta's film of his mother is that his mother was forcing him to film her, so the explosion at the end is his way of trying to exert narrative control of his situation the only way he can (by basically saying "well that dumpster fire finally burned down, peace out mom"). But Yuta & Eri are co-creators of their movie, so they are able to create a film where they really do get to properly memorialize Eri and give her a death on their terms. Also in Look Back, the 4komas are depicted as connecting Fujino and Kyomoto across the border of death. But I think what is happening in that ending is, Fujino is visiting Kyomoto's apartment after she dies, and a 4koma titled "Look Back" that Kyomoto hung on her window is blown underneath the door. When Fujino reads it, it reconnects her to Kyomoto, and she decides to start making art again--the implication being that she adapts Kyomoto's 4koma into the "Look Back" that we are reading. The alternate timeline is an imaginary wish fulfillment where Fujino gets to save Kyomoto specifically so they can make art together. (Like with Goodbye Eri, I think you can also read Look Back as a story where there really is a supernatural element, but it's written in such a way that there is a metafictional reading that explains the impossibility) I don't think that Fujimoto is saying "art is great because it lets you be immortal." If anything it's the opposite--it's a form of immortality only in that it allows people to properly memorialize what matters to them. In a world of chaos and death, it is one of the few ways that people can take the reins back and construct meaning on their own terms. What I mean by a free pass is that, when so many other institutions are treated as deeply corrupted and untrustworthy, Fujimoto seems to view art as being conducive to survival in a harsh world.
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Jan 9, 2024 03:13
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Cephas posted:I guess that depends on your view of the events of Goodbye Eri. I take the ending where he meets her again to be some kind of trick editing, either splicing Yuta as an adult into old footage of Eri, or by recruiting Yuta's dad to play an adult version of Yuta. I don't believe that Eri is actually a vampire. As I read it, the artmaking process allows the protagonists to process grief by transforming the inexplicable trauma of death into a narrative that they have the freedom and power to shape. They create the simple version of the story where Eri dies in her hospital bed as a blockbuster, but the ultimate version of the film, which spans from the first page of Goodbye Eri to its last page, is shot with footage outside of chronological order. Eri dying in the hospital bed is a historical fact, but the filmmaking process allows them to transcend historicity and create a "better" narrative where she lives on as a vampire and meets Yuta in the future. It lets them say goodbye on their terms. I admit, I always find that kind of argument a bit of an eye-roller. I mean, the "Any element in this fictional story that doesn't match up with objective outside reality must be fictional in the story as well" side of things. Unlike the reveal about Eri's glasses, which the manga cleverly reinforces with a timeskip shot at the hospital, the final shots have Yuta drop his phone, making the 'camera' we've been using for the whole manga unavailable for the last sequence. We even get a panel showing the phone as it falls, something only shown elsewhere as an indication of the timeskip. Definitely isn't the dad, though, even assuming that it's all doubly fictional. Future Yuta's face structure is slightly different, and his eyebrows are very different. Similarly, the murderer 4koma in Look Back makes very little sense without the supernatural context, and is the simplest thing in the world to explain with it. Odd to discard that. chiasaur11 fucked around with this message at 10:25 on Jan 9, 2024 |
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Jan 9, 2024 10:19
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There's a shot early into Goodbye Eri where Yuta is running from the hospital with his phone in his hand, so it's not a hard-and-fast rule that his cell phone is the only recording device in the manga. There's also a good amount of evidence and a simple explanation for the 4koma in Look Back. I think they're intentionally written to obfuscate a single definitive reading.
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Jan 10, 2024 01:00
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