Jaman die ene scène heeft echt niet gehoeven

Jaman die ene scène heeft echt niet gehoeven

A voir absolument, 王立宇宙軍 オネアミスの翼 est une oeuvre profondemment novatrice. Ancrée dans la meme epoque qu'Akira la pate sf est evidemment un point de depart pour l'intrigue, mais les themes explorés sont incroyablement en avance sur leur temps. (je met de coté l'aspect politique du scenario qui est tres interessant et elaboré mais qui correspond pas a ce que je veux dire ici puisqu'il decoule du fameux effet Nagasaki/Hiroshima).   Dans ce magnifique long metrage on retrouve des elements qui constituent la culture sf japonaise de bcp : Eva, Lain, etc... EUX MEMES des projets assez anciens pour etre considerés comme classiques, et que beaucoup considerent comme les fondateurs de la sf philosophique et psychologique au japon, et plus precisement les connotations religieuses associée a l'emmergence du digital ou de technologies fictives propres a Evangelion mais aussi a Serial experiment Lain. OR! apprenez que ces divers themes sont present avant tout, en 1987, 10 ans avant les autres oeuvres citées, dans la premiere grande production Gainax qu'est 王立宇宙軍 オネアミスの翼 (Royal space force). Malheureusement ayant été un flop total, le film n'aura pas assez marqué les esprits pour etre considéré a juste titre comme un des reels pioniers du drame psychologique philosophique politique et religieux du cyberpunk/steampunk japonais. Et JE COMPRENDS son echec au box office. En effet bien que les themes exploré soient splendides, le projet est bourré de defaut, que ca soit la mise en scene plus que banale, le rythme acceléré, le developpement de l'intrigue philosophique assez bas de plafond, ou le ton un peu trop leger par moment, rien ne rend veritablement honneur aux idées du film. Je mentionne quand meme les 5 dernieres minutes de ces 119 minutes d'animation comme un petit bout de chef d'oeuvre, remontant le niveau global de la direction artistique du film. Ainsi, bien que largement imparfait, 王立宇宙軍 オネアミスの翼 porte une poesie indenniable, c'est un travail qui merite d'etre vu, et reconnu comme legitime porteur de themes novateurs au sein de la sci fi japonaise, elle meme emblematique du genre.

(je precise aussi qu'au dela de la fluidité de l'image ya plein de scenes tres joliement animées et ya de tres belles scenes mais malheureusement c'est pas exploité de facon assez complete et constante jpense notamment aux scenes de vol et d'action)

A voir absolument, 王立宇宙軍 オネアミスの翼 est une oeuvre profondemment novatrice. Ancrée dans la meme epoque qu'Akira la pate sf est evidemment un point de depart pour l'intrigue, mais les themes explorés sont incroyablement en avance sur leur temps. (je met de coté l'aspect politique du scenario qui est tres interessant et elaboré mais qui correspond pas a ce que je veux dire ici puisqu'il decoule du fameux effet Nagasaki/Hiroshima).   Dans ce magnifique long metrage on retrouve des elements qui constituent la culture sf japonaise de bcp : Eva, Lain, etc... EUX MEMES des projets assez anciens pour etre considerés comme classiques, et que beaucoup considerent comme les fondateurs de la sf philosophique et psychologique au japon, et plus precisement les connotations religieuses associée a l'emmergence du digital ou de technologies fictives propres a Evangelion mais aussi a Serial experiment Lain. OR! apprenez que ces divers themes sont present avant tout, en 1987, 10 ans avant les autres oeuvres citées, dans la premiere grande production Gainax qu'est 王立宇宙軍 オネアミスの翼 (Royal space force). Malheureusement ayant été un flop total, le film n'aura pas assez marqué les esprits pour etre considéré a juste titre comme un des reels pioniers du drame psychologique philosophique politique et religieux du cyberpunk/steampunk japonais. Et JE COMPRENDS son echec au box office. En effet bien que les themes exploré soient splendides, le projet est bourré de defaut, que ca soit la mise en scene plus que banale, le rythme acceléré, le developpement de l'intrigue philosophique assez bas de plafond, ou le ton un peu trop leger par moment, rien ne rend veritablement honneur aux idées du film. Je mentionne quand meme les 5 dernieres minutes de ces 119 minutes d'animation comme un petit bout de chef d'oeuvre, remontant le niveau global de la direction artistique du film. Ainsi, bien que largement imparfait, 王立宇宙軍 オネアミスの翼 porte une poesie indenniable, c'est un travail qui merite d'etre vu, et reconnu comme legitime porteur de themes novateurs au sein de la sci fi japonaise, elle meme emblematique du genre.

(je precise aussi qu'au dela de la fluidité de l'image ya plein de scenes tres joliement animées et ya de tres belles scenes mais malheureusement c'est pas exploité de facon assez complete et constante jpense notamment aux scenes de vol et d'action)

Has the appearance of greatness and even wants to be great. Falls flat though. It just doesn't have the sensibilities to reach the breadth it's aiming for. Ironically it's a bit like its own story, trying to reach for something greater.

The protagonist, well, he sucks. His motivation is hollow, at best. The most grimly amusing moment of his character growth happens after he inexplicably tries to rape his friend. The next day, he muses to his other friend if he might be a bad dude. Wow. Moving.

The ending conflict is grand and had you not sat through the previous 100 minutes, you'd be justified in believing this is a work of greatness. Hell, they even throw in an artsy montage of human history. In totality, though, this is an uneven work whose sole strength is its art.

Has the appearance of greatness and even wants to be great. Falls flat though. It just doesn't have the sensibilities to reach the breadth it's aiming for. Ironically it's a bit like its own story, trying to reach for something greater.

The protagonist, well, he sucks. His motivation is hollow, at best. The most grimly amusing moment of his character growth happens after he inexplicably tries to rape his friend. The next day, he muses to his other friend if he might be a bad dude. Wow. Moving.

The ending conflict is grand and had you not sat through the previous 100 minutes, you'd be justified in believing this is a work of greatness. Hell, they even throw in an artsy montage of human history. In totality, though, this is an uneven work whose sole strength is its art.

This is quite possibly one of the finest animated movies of all time, and the fact that it isn’t talked about as often and isn’t as accessible stateside apart from old OOP DVD, Blu-ray and VHS copies, which are quite pricey, might I add, is absolutely criminal. The sequences where the rocket takes off was animated by Hideaki Anno, the Evangelion creator. Every particle of ice falling off the rocket during the launch was individually drawn, and it runs so smooth. Additionally, the musical score by Ryuichi Sakamoto is beautiful, especially in the ending sequence showing humanity’s conception, which for me, is truly one of the highlights of the whole movie. This is the movie that should be used an an example of how to tell a mature story for adults in the form of animation.


Also, please, for the love of Christ, fucking stop applying your delicate sensibilities when spewing your invalid criticisms surrounding this gorgeous movie (if you’ve seen the film, you know which scene I’m talking about). The entire point of the scene was to show how disillusioned Shirotsugh was in that moment, seeing the stark contrast between the upper class lifestyle of him (he ascended from the middle class after joining the space force) and the lower class, the sudden fame he receives after it’s announced that he’ll be the first man in space, and bearing witness to how Riquinni lives her life with Manna. When money drops out of Riquinni’s pocket, Shriotsugh assumes that she is not living the life she proclaims, so he thinks she’s a sexual object and tries to take advantage of her, to which she responds by knocking him out with a candlejack. The morning after, Shiro goes to apologize to Riquinni, but is baffled when she is insistent that she should apologize. It’s important to note that Shirotsugh and Riquinni live polar opposite lives, and it shows how flawed Shiro is and Riquinni’s strong religious beliefs allow her to forgive anyone. The same is true when her house was destroyed. This scene goes to show that Shiro is a flawed individual and as such, it has just as much to do with the themes of the film as anything else. So to dismiss the entire film because of this one scene is not just reductive, but childish, and it really speaks volumes of your lack of emotional maturity and your inability to understand overt meaning, subtext, interpersonal dynamics, themes, characters and how these aspects all interact with one another and fit within the narrative. Media literacy is fucked beyond repair, I swear.

This is quite possibly one of the finest animated movies of all time, and the fact that it isn’t talked about as often and isn’t as accessible stateside apart from old OOP DVD, Blu-ray and VHS copies, which are quite pricey, might I add, is absolutely criminal. The sequences where the rocket takes off was animated by Hideaki Anno, the Evangelion creator. Every particle of ice falling off the rocket during the launch was individually drawn, and it runs so smooth. Additionally, the musical score by Ryuichi Sakamoto is beautiful, especially in the ending sequence showing humanity’s conception, which for me, is truly one of the highlights of the whole movie. This is the movie that should be used an an example of how to tell a mature story for adults in the form of animation.


Also, please, for the love of Christ, fucking stop applying your delicate sensibilities when spewing your invalid criticisms surrounding this gorgeous movie (if you’ve seen the film, you know which scene I’m talking about). The entire point of the scene was to show how disillusioned Shirotsugh was in that moment, seeing the stark contrast between the upper class lifestyle of him (he ascended from the middle class after joining the space force) and the lower class, the sudden fame he receives after it’s announced that he’ll be the first man in space, and bearing witness to how Riquinni lives her life with Manna. When money drops out of Riquinni’s pocket, Shriotsugh assumes that she is not living the life she proclaims, so he thinks she’s a sexual object and tries to take advantage of her, to which she responds by knocking him out with a candlejack. The morning after, Shiro goes to apologize to Riquinni, but is baffled when she is insistent that she should apologize. It’s important to note that Shirotsugh and Riquinni live polar opposite lives, and it shows how flawed Shiro is and Riquinni’s strong religious beliefs allow her to forgive anyone. The same is true when her house was destroyed. This scene goes to show that Shiro is a flawed individual and as such, it has just as much to do with the themes of the film as anything else. So to dismiss the entire film because of this one scene is not just reductive, but childish, and it really speaks volumes of your lack of emotional maturity and your inability to understand overt meaning, subtext, interpersonal dynamics, themes, characters and how these aspects all interact with one another and fit within the narrative. Media literacy is fucked beyond repair, I swear.

This is quite possibly one of the finest animated movies of all time, and the fact that it isn’t talked about as often and isn’t as accessible stateside apart from old OOP DVD, Blu-ray and VHS copies, which are quite pricey, might I add, is absolutely criminal. The sequences where the rocket takes off was animated by Hideaki Anno, the Evangelion creator. Every particle of ice falling off the rocket during the launch was individually drawn, and it runs so smooth. Additionally, the musical score by Ryuichi Sakamoto is beautiful, especially in the ending sequence showing humanity’s conception, which for me, is truly one of the highlights of the whole movie. This is the movie that should be used an an example of how to tell a mature story for adults in the form of animation.

Also, please, for the love of Christ, fucking stop applying your delicate sensibilities when spewing your invalid criticisms surrounding this gorgeous movie (if you’ve seen the film, you know which scene I’m talking about). The entire point of the scene was to show how disillusioned Shirotsugh was in that moment, seeing the stark contrast between the upper class lifestyle of him (he ascended from the middle class after joining the space force) and the lower class, the sudden fame he receives after it’s announced that he’ll be the first man in space, and bearing witness to how Riquinni lives her life with Manna. When money drops out of Riquinni’s pocket, Shriotsugh assumes that she is not living the life she proclaims, so he thinks she’s a sexual object and tries to take advantage of her, to which she responds by knocking him out with a candlejack. The morning after, Shiro goes to apologize to Riquinni, but is baffled when she is insistent that she should apologize. It’s important to note that Shirotsugh and Riquinni live polar opposite lives, and it shows how flawed Shiro is and Riquinni’s strong religious beliefs allow her to forgive anyone. The same is true when her house was destroyed. This scene goes to show that Shiro is a flawed individual and as such, it has just as much to do with the themes of the film as anything else. So to dismiss the entire film because of this one scene is not just reductive, but childish, and it really speaks volumes of your lack of emotional maturity and your inability to understand overt meaning, subtext, interpersonal dynamics, themes, characters and how these aspects all interact with one another and fit within the narrative. Media literacy is fucked beyond repair, I swear.

This is quite possibly one of the finest animated movies of all time, and the fact that it isn’t talked about as often and isn’t as accessible stateside apart from old OOP DVD, Blu-ray and VHS copies, which are quite pricey, might I add, is absolutely criminal. The sequences where the rocket takes off was animated by Hideaki Anno, the Evangelion creator. Every particle of ice falling off the rocket during the launch was individually drawn, and it runs so smooth. Additionally, the musical score by Ryuichi Sakamoto is beautiful, especially in the ending sequence showing humanity’s conception, which for me, is truly one of the highlights of the whole movie. This is the movie that should be used an an example of how to tell a mature story for adults in the form of animation.

Also, please, for the love of Christ, fucking stop applying your delicate sensibilities when spewing your invalid criticisms surrounding this gorgeous movie (if you’ve seen the film, you know which scene I’m talking about). The entire point of the scene was to show how disillusioned Shirotsugh was in that moment, seeing the stark contrast between the upper class lifestyle of him (he ascended from the middle class after joining the space force) and the lower class, the sudden fame he receives after it’s announced that he’ll be the first man in space, and bearing witness to how Riquinni lives her life with Manna. When money drops out of Riquinni’s pocket, Shriotsugh assumes that she is not living the life she proclaims, so he thinks she’s a sexual object and tries to take advantage of her, to which she responds by knocking him out with a candlejack. The morning after, Shiro goes to apologize to Riquinni, but is baffled when she is insistent that she should apologize. It’s important to note that Shirotsugh and Riquinni live polar opposite lives, and it shows how flawed Shiro is and Riquinni’s strong religious beliefs allow her to forgive anyone. The same is true when her house was destroyed. This scene goes to show that Shiro is a flawed individual and as such, it has just as much to do with the themes of the film as anything else. So to dismiss the entire film because of this one scene is not just reductive, but childish, and it really speaks volumes of your lack of emotional maturity and your inability to understand overt meaning, subtext, interpersonal dynamics, themes, characters and how these aspects all interact with one another and fit within the narrative. Media literacy is fucked beyond repair, I swear.