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The hypothetical scenario would be hypocritical given the lives that would undoubtedly be destroyed, tho again, I don't remember him doing so, just that I wouldn't trust the film with that if it did.

I suppose. I'll take your word on this one as I have no plans of rewatching any part of this film to double check.

Honestly, either one of the two would have been better than the fownaying. That or not tacking on what the old lady said about nature, therein making it so we don't actually see anyone validate his actions.

I'll take your word that he does feel some remorse but ultimately decides that, yea, there's no need to dwell as the damage had long since been done. Kinda funny if this is how we see him accept reality several years late after the climax practically celebrated and cheered over what he was doing, and how the film set the arc up only for the people saying that to then beclme antagonists for him to not listen to.

I still disagree. Facing reality would absolutely be more on Hodaka accepting the nature of Hina's power/curse more than it would the one or two other people who try to stop him from stopping that brcause they know the untild calamity and death that would.otherwise unfold. Furthermore, I'd probably be a lot less bitter about all of this if Tokyo was anything more than just a normal city with a generally really pleasant society, barring a seedy underbelly that we only get a couple of guys as examples of. Doubly so since nobody else knows of this whole sacrifice thing, judt the rain stuff. Then again, at that point, the movie would have a much harsher tone until the final act.

Honrstly, if the tone and overall vibe is this supportive of his decision and at worst says "well he does feel some remorse over the flooding but that doesn't really matter and people are learning to deal with it anyway so let's get over it" then yea, I'd still say the film really wants this to be the takeaway. At the very least, it certanly was mine and I can't in good faith chalk it up to a media literacy issue despite the thing you pointed out that left my mind.

Oh absolutely, but again, it ultimately becomes Hodaka's decision and he therein is the one I focus on. Hina is absolutely a victim of circumstance, but regardless of her decision, it's Hodaka's call above all else, and I don't remember him actively trying to convince her of the value of her life or anything. He kinda just gets her to accept the "yea I wanna live" option, and tbh I feel if he did try to do what I just thought of, it would kinda be hypocritical, and not in a way the film would ever acknowledge.

I don't remember it being purely limited to Tokyo (not that I'd realistically buy it) but in that case, it's still 100% sweeping the harm caused under the rug because something something nature is healing anyway so it's totally a good thing and Hodaka doesn't have to worry, not that I remember him genuinely rejecting that last part. It just doesn't mean anything to him, nor is it supposed to mean anything to the audience, otherwise they wouldn't downplay that. It's not just seen as worth it by the character, the film ultimately makes that final call rather than leaving it open to interpretation or scrutiny because of how actively it supported Hodaka actively going against the character development the first 2/3 of the film set up. That's why I feel the film wants to have its cake and eat it too, and why I despise the film's framing of this conflict and resolution.

At best, given that the supposed implication behind his suffocating home life is that it was in some way abusive, he's being sent back to shitty people for 2 years before being given the chance to resume his relationship with Hina. Naturally, that's a footnote (I understand this one, even regardless of how I feel the abuse implications were frankly so flimsy and nonexistent that him just being extremely scrappy and impulsive entirely on his own makes about as or even more sense). Still, again, the film downplays everything, giving the most cursory nod to part of the obvious so that it can comfortably treat everything as worth it rather than silently judge him or leave everything to the audience's call or show that this truly is something he has to live with. Why have him face reality like someone trying to enter the real world is actively being told to do when he can just be as juvenile as a teen at the cost of everything? Because he's a teen and the film wants its happy ending where they can still potentially get together, as we should accept that pretty much at face value. We need our actiontastic, bombastic climax with the overblown happy cheery music celebrating Hidaka reaching Hina in a huge setpiece, and by God you're gonna support it, like it or not.

The thing is the girl herself was more than willing to be scarified, and while that's unfortunate, Hodaka knew what the only alternative would b. He actively rejects the sobering reality that this one person must die for others to live, allowing the world to flood, rejecting her own decisions and agency in the matter without even trying to convince her to value her life enough to go against everything. It becomes his decision, not hers.

This is framed as the absolute morally correct choice, and a convenient one too as nature is healing now, apparently, which is why we are barely shown anything more than large scale halting of daily life that would get resolved over time anyway because it would be quite uncomfortable to directly acknowledge all the untold global harm and destruction he caused with his decision. Fuck the world and fuck the adults who told him to just accept reality, but Hodaka doesn't, and he's largely absolved with little more than a 2 year house arrest that's treated as basically a slap on the wrist over an entirely downplayed catastrophe. Not only am I angry at the direction it took, I'm as frustrated as I am because the way they present the results is sheepish and cowardly to me, while also painting him as actually completely in the right. It also directly goes completely against the character development they set up for him, as if the movie set this up for the sole purpose of directly refuting the idea that he should grow as a person and accept reality to any extent. That last part isn't inherently bad, but in this particular instance, I think you can forgive me for finding it utterly maddening.

I don't know if I'd sac myself or someone I love, hell, I'd rather not be put in such an uncomfortable position, but I feel I'd ultimately head towards doing what's right for the greater good rather than just what's right for my happiness, even if it kills me or riddles me with sadness and guilt. This is, ofc, assuming that just like in the movie, there is no safe third option available.

It has been done lol

Súper sí! Le pido tu número a Mara

Hola!!! No había visto este mensaje! Si aún lo tienes me interesa

I know of plenty of the problematic discs DLW worked on, and this likely isn't all of them, DLW's track record was that bad. Also Joel McCray did screw up Votoms, yes. He worked on the re-release too, this time with Ryan Anthony helping and even then there's still some problems. Sentai just couldn't figure out how to do SDBDs despite a certain company being around specializing in those that could give them tips.https://fandompost.vbulletin.net/forum/anime-manga-discussions/us-blu-ray-dvd-and-simulcast-industry-news/10665-sentai-filmworks-licenses-kids-on-the-slope?p=311608#post311608

The problem with Kids on the Slope, the audio came out of only the left speaker on one episode.
https://www.animenewsnetwork.com/news/2013-05-06/retailer/sentai-filmworks-recalls-kids-on-the-slope-bd-release

Another problematic release from that time was Horizon in the Middle of Nowhere. Episode 7, for some reason, the second half is this horribly aliased mess. This was fixed in the 2016 re-release. Colorful the movie had a similar problem, towards the end of the movie, the video quality just massively tanks, that sadly hasn't seen a fixed re-release.

They also massively screwed up Penguindrum. They received interlaced masters instead of progressive (plenty of shows were like this around 2012/2013), and because Sentai is horrible with 1080i content even to this day, ugh. Penguindrum which is long OOP is definitely in dire need of a corrected re-release.https://fandompost.vbulletin.net/forum/anime-manga-discussions/us-blu-ray-dvd-and-simulcast-industry-news/14659-sentai-filmworks-licenses-penguindrum?p=278861#post278861

i'll take your word for it. i remember seeing certain cuts of the manga were they did in fact look exactly the same, u were right tho i never read the manga and probably looking back I shouldn't have made such a suggestive claim.

But yeah as you mentioned, the point still stands that the jokes relating their similarities in appearance were not funny and made no sense

I haven't watched very many of my Sentai discs admittedly, but what I know is David Williams' track record wasn't very good. Most of Sentai's most problematic discs came from him, 2010-2014 was a mess. During that era, even the static menus would suffer from bad compression. Joel McCray's track record is much better, and as of around June or so last year, he's been joined by Ryan Anthony, so 2 people author all the Section23 Films Blu-rays these days. As for Gunbuster the Movie, I've never compared the video quality, but a big difference is the Maiden Japan release has the Japanese commentary track with the seiyuus for Diebuster (they had the seiyuus for Gunbuster do a commentary track for Diebuster, and the seiyuus for Diebuster do a commentary track for Gunbuster). The commentaries were previously included only in the Blu-ray box that contained both movies on the bonus disc only. That set was sold as an import, only difference between the Japanese and North American releases is the translated cover sheets and translation booklets. The bonus disc was the only case that didn't have an English cover sheet for the NA version.
https://www.blu-ray.com/movies/Gunbuster-vs-Diebuster-Aim-for-the-Top-The-GATTAI-Movies-Blu-ray/1143/

Bad English dubs definitely played a role. Although, sometimes they can make OVAs more enjoyable, like Mad Bull 34.

I've been re-writing some of my older reviews in which I was often WAY too harsh on classic OVAs.

Just because they find a way to explain it with cheap dialogue doesn't make it a good story. He hardly knew the girl, and hadn't of seen her in forever. To build up a cast of characters for 20+ episodes then be like "yea we going to make him choose the person we know nothing about" is just edgy 90s story telling. If they wanted to go that route, they should have designated more than like, half an episode to her background

its believable that a man who finally has a purpose, with a fun job and good friends, would throw his life away for a girl already dead?


true dat man

> Doesnt like the plot devices thrown into "i want to eat your pancreas"

> Gives Cowboy Bebop a 9/10, an anime that saw the main character suicide over a dead girl that had no story build up

I'm watching the original Lupin III right now, gonna rewatch Castle of Cagliostro after I'm done and see if I like it more this time around (probably will)