magicien en anglais
Cartoonists Kitzawa Rakuten and Okamoto Ippei used film elements in their strips. [18] Pioneers A frame from Namakura Gatana (1917), the
oldest surviving Japanese animated short film made for cinemas Animation in Japan began in the early 20th century, when filmmakers
started to experiment with techniques pioneered in France, Germany, the United States, and Russia. [19] A claim for the earliest Japanese animation is Katsudō Shashin (c. 1907),[20] a
private work by an unknown creator. [21] In 1917, the first professional and publicly displayed works began to appear; animators such as Ōten Shimokawa, Seitarō Kitayama, and Jun'ichi Kōuchi (considered the "fathers of anime") produced numerous films, the oldest surviving of which is Kōuchi's Namakura Gatana. [22] Many early works were lost with the destruction of Shimokawa's warehouse in the 1923 Great Kantō earthquake. [23] By the mid-1930s, animation was well-established in Japan as an alternative format to the live-action industry. It
suffered competition from foreign producers, such as Disney, and many animators, including Noburō Ōfuji and Yasuji Murata, continued to work with cheaper cutout animation rather than cel animation. [24] Other creators, including Kenzō Masaoka and Mitsuyo Seo, nevertheless made great strides in technique, benefiting from the patronage of the government, which employed animators to produce educational shorts and propaganda. [25] In 1940, the government dissolved several artists' organizations to form the Shin Nippon Mangaka Kyōkai. [a][26] The first talkie anime was Chikara to Onna no Yo no Naka (1933), a short film produced by Masaoka.
[39] The comical episodes were harder for the team to write than the serious ones, and though several events in them seemed random, they were carefully planned in advance. [31]
Watanabe conceived the series' ending
early on, and each episode involving Spike and Vicious was meant to foreshadow their final confrontation. Some of the staff were unhappy about this approach as a continuation of the series would be difficult. While he considered altering the ending, he eventually settled with his original idea. The reason for creating the ending was that Watanabe did not want the series to become like Star Trek, with him being tied to doing it for years. [31] Development[edit] The project had initially originated with Bandai's toy division as a sponsor, with the goal of selling spacecraft toys. Watanabe recalled his only instruction was "So long as there's a spaceship in it, you can do whatever you want. " But upon viewing early footage, it became clear that Watanabe's vision for the series did not match Bandai's. Believing the series would never sell toy merchandise, Bandai pulled out of the project, leaving it in development hell until sister company Bandai Visual stepped in to sponsor it. Since there was no need to merchandise toys with the property any more, Watanabe had free rein in the development of the series. [36] Watanabe wanted to design not just a space adventure series for adolescent boys but a program that would also appeal to sophisticated adults.
Everything about
sound in this show is low quality, low effort work. Music enjoyers would get ill from being forced to
listen to these songs and soundtracks. Also, who would say they like underage low quality girls with woman voice singing like in a bar for drunk adults in ending 1? Also wow, all the lyrics are really relatable and analitic to the story of the show, nah I am gonna stop with that additional sarcasms from now on.
4. Characters 3/10.
Endou Mamoru is the captain of Inazuma Eleven team and the main character, but not that original, his personality is too close to Naruto, oh yea Naturo's voice actor voiced him too.
