digital web press price
Retrieved May 15, 2023. ^ "Serie Distopica Anime
Estilo The
Last of Us". Clarin (in Spanish). April 15, 2023. Archived from the original on April 15, 2023. Retrieved March 7, 2023. ^ Barragán, Roberto (April 6, 2023). "Así es Tengoku Daimakyou, el nuevo anime al estilo The Last of Us que triunfa en Disney+".
Meristation (in Spanish). Archived from the original on May 12, 2023. Retrieved May 12, 2023.
[8] Takahata said
that Setsuko was even more difficult to animate than Seita, and that he had never before depicted a girl younger than five. [6] Takahata said that "In that respect, when you make the book into a movie, Setsuko becomes a tangible person", and that four-year-olds often become more assertive and self-centered, and try to get their own ways during that age. He explained that while one could "have a scene where Seita can't stand that anymore", it is "difficult to incorporate into a story". [9] Takahata explained that the film is from Seita's point of view, "and even objective passages are filtered through his feelings". [8] Takahata said that he had considered
using non-traditional animation methods, but because "the schedule was planned and the movie's release date set, and the staff assembled, it was apparent there was no room for such a trial-and-error approach". [8] He further remarked that he had difficulty animating the scenery since, in Japanese animation, one is "not allowed" to depict Japan in a realistic manner. [6] Animators often traveled to foreign countries to do research on how to depict them, but such research had not been done before for a Japanese setting. [6] While animating the movie, Takahata also created several different cuts of the scene in which Seita cremates Setsuko's body. Takahata spent a lot of time on this scene, trying to create the perfect iteration of it. Each of these cuts remained unfinished and unused in the end. [10] Most of the illustration outlines in the film are in brown, instead of the customary black.
Very few times in my life have I had the privilege to witness a series which pushes all my buttons so well and in so many ways, and even if you don’t share my exact aesthetic preferences, I promise you'll agree when I say Sonny Boy is an audiovisual masterclass.
What
depth it lacks in the
theme department, it more than makes up for in the character department, and not simply because they brought Hisashi Eguchi back from the grave. Natsume stated in an interview, “Sonny Boy is a simple story about a boy growing up and people drifting apart,” and the only reason he imagined it with such an abstract presentation was simply because “life can be absurd and inexplainable sometimes, and you find yourself asking ‘Why?’ a lot. ” To me, this is very obvious. The tangible plot of Sonny Boy is a straightforward mystery box which just so happens to have a great deal of surreal elements, but this simplicity is a good thing, because with all the symbolism and character details you already have to keep track of, any narrative structure more complex than this would’ve been way too overbearing and—now that I mention it—probably would’ve made the series as confusing as everyone already says it is. What makes the cast so good is a combination of the expressive character animation I mentioned earlier and the fact Natsume personally wrote the script for every episode, making every character feel consistent.
