You know what? I loved Kimi no na Wa more than anything I have ever watched...

You know what? I loved Kimi no na Wa more than anything I have ever watched. Every time I see a KnKfag shit on Your Name I just want to curl up and cry. This movie broke me down and built me up countless times over its two hours. I probably cried intermittently for five hours after I finished watching it. The animation captivated me, the characters were vividly human, and the music was fantastic. I still listen to the soundtrack on spotify every day, even a month after I first watched it. But most of all was the feeling the movie left me with. I don't know, I was just left with this feeling of fulfilled loss, like my heart was an empty glass and Shinkai had poured water in it until it was overflowing. Anyone who said the characters were not relatable seriously needs to rewatch the film. Every action, every decision they made was so down to earth, there weren't any of the tropes lots of animes use these days to gloss over the decision-process with.

I love Kimi no na Wa, KnK lovers should reevaluate their life choices.

I understand your passion for the film, but there's no need to bait on another fandom just to prove your point.

>I still listen to the soundtrack on spotify
Details like this are what separates the 4/5 bait from the 5/5.

nah it's just catharsis, it happened to me with Clannad a few years back. happens to the best of us

new copypasta, lads?

Both in animation quality, actor's works, direction, soundtrack, and content, Koe no Katachi is a clearly better film than Kimi no Na Wa (and you'd have to watch a lot of films, not just animation, to understand the qualitative difference.

People don't understand what is going on with Koe no Katachi's soundtrack, if they haven't heard Johann Sebastian Bach's Invention, Steve Reich, or Dead or Alive, and are watching it online with bad audio. It's the same thing with its animation; if people aren't careful enough, they don't see the quality in people's movements (particularly walking or running) which is rather poor than average in Kimi no Na Wa (even ripples in the river with koi fishes and fruits falling after an emotional brawl scene was stunning in Koe no Katachi), as well as cinematographic techniques involving framing, lighting, focus and blurs (which is very sophisticated and interesting in Naoko Yamada's direction. Makoto Shikai is a good and respectable director who I admire, and he has great challenging spirit considering that he started making animated films on his own, but ...)

I would have liked Kimi no Na Wa more if it had better animation, better voice acting, better use of cinematography and soundtrack (although its signature song is very nice), and content (if only it had a sort of bitter-sweet growing up ending, with the main character choosing to date the senpai and the memory slowly fading, as the happy ending was a bit too forced to fully enjoy for me! And also, it poorly addressed one issue which is acute in Japan, which is how to deal with fading memories of the lost ones in a natural disaster; Shinkai fell short on properly facing the issue although touching on it).

I hate this pasta because I agree with it but it's also pretentious and obnoxious as hell

Is this Pasta now? I'll refute it either way.

>People don't understand what is going on with Koe no Katachi's soundtrack, if they haven't heard Johann Sebastian Bach's Invention
Namedropping shit is fine, but let's not get ahead of ourselves here. The KnK OST wasn't some polyphonic masterpiece of modern music.

The two soundtracks take drastically different approaches to score. For KNNW, think Giant Robo. The music tells the story. Shinkai's novel describes the inner monologues of the protagonists as constantly repeating "just a little longer" but in the movie, the lyrics cover that. KnK is a bit more traditional, atmospheric music that reinforces a narrative. Cagliostro is a great example. Neither is superior, it's just different approaches.

>It's the same thing with its animation; if people aren't careful enough, they don't see the quality in people's movements
I'll admit that Kyoani's team are some of the best in the business - but don't dismiss Ando and Tanaka, who are also amazing animators. The film had a smaller budget, but the animation came out just fine. It's expressive and emotive, think of scenes like Katawaredoki and the sake trip. Especially compared to Shinkai's previous films, where animation really tended toward garbage quality. I mean, I'm not going to say it's god tier - it's not, and I quite dislike rotoscoping, but it's not a major flaw, just not quite an asset either.

>as well as cinematographic techniques involving framing, lighting, focus and blurs
This is absolute bullshit. If you don't notice Shinkai's love for clever, Ozu-esque framing, visual leitmotifs, and environmental storytelling, that's on you. Look at pic related. He's a fantastic editor and cinematographer, but a poor animator.

Meanwhile, Yamada often adds in things like blur and chromatic aberration, which, while giving the movie a sense of realism, can often dull some of the core qualities of animation itself - interplay between abstraction and realism.

>(which is very sophisticated and interesting in Naoko Yamada's direction. Makoto Shikai is a good and respectable director who I admire, and he has great challenging spirit considering that he started making animated films on his own, but ...)
In recent years Yamada's been drifting more and more into the realm of "real" film, adopting more and more purely cinematic techniques and VFX. While that's all well and good, a lot of times it comes at the cost of animation - the particles and blur in Kyokai no Kanata, for example, diminish and obscure the fantastic action animation in multiple scenes. Additionally, she seems to have issues incorporating actors and scene into the frame in an interesting way, and doesn't do much to differentiate her films visually, or use palette manipulation in a narrative manner.

>And also, it poorly addressed one issue which is acute in Japan, which is how to deal with fading memories of the lost ones in a natural disaster; Shinkai fell short on properly facing the issue although touching on it).
Well, the film doesn't address it explicitly, except for a scene at the end, but simply through its presentation I think it speaks volumes about the issue. The way that despite the destruction of their hometown, the tradition lives on in Mitsuha's fashionable hairband. The parallels between sliding train doors and wooden Shoji. Taki's monologue about building memories, and the way that the bleak, gray future Tokyo bursts into Verdant shades reminiscent of Itomori when the pair meet again, even the story of Mayugoro - This is a tale of loss and rediscovery, and the fact that though context might be lost or change completely, so long as people try to preserve and protect, traditions and culture will never truly die out. That this spirit inherent to the Japanese, like the god Musubi, will live on into the 21st century. And that Natsukashii can always be created anew.

In my opinion the fakeout when Taki tries to call Mitsuha and it shows you her side is badly done because it is out of sync.

When it shows you Mitsuha waking up earlier in the day, doing her hair and crying that is on the day of the date, one day before the comet hits, but when Tessie phones her, it is the day the comet hits, but it's not immediately obvious that it's the next day because it shows you that passage in the time that Taki is trying to call her which can make you think it is concurrent.

It's a problem because she's about 5 hours from Tokyo each way so you can get mixed up on what day the comet hits and how she managed to get to Tokyo and back so quickly.

>When it shows you Mitsuha waking up earlier in the day, doing her hair and crying that is on the day of the date, one day before the comet hits, but when Tessie phones her, it is the day the comet hits, but it's not immediately obvious that it's the next day because it shows you that passage in the time that Taki is trying to call her which can make you think it is concurrent.
That's the whole point, though.

It's pretty much unnecessary because it shows you the day from her perspective when Taki bodyswaps after drinking her spitsake anyway.

Yeah, but the film puts things like that to make you not expect the twist. Which is fine.

I don't think the audience is too stupid to figure out the timeline, I did fine.

Blessed are the poor in spirit.

PLEBS LUL
Greetings from Sup Forums.

,5
Because boards archived on fireden, like Sup Forums and /vg/, don't have ghost.

By the way pleb boys, it's working now, you can come back.

,14
Yeah it sucks, nobody on Sup Forums is using ghost.

>unironically being poor
>2017
Enjoy your no images I guess. I'll be enjoying my smug anime girls.

...

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Cute thread

You have fucking shit taste if you consider any anime the best thing you've ever watched

It's still down.

Time to leave, /ghost/

Disregard that, I suck cocks.

We're back!

I haven't watched this movie, but does it have a bittersweet ending?

I want the two people to hook up in the end and happily ever after. My understanding is that they are 3 years apart.

If they don't live happily ever after, then fuck the entire thing. I've had enough of cuck-japan's cuckon for bittercuck endings.

The movie doesn't explore if they live happily ever after.

I will leave you with that.

So it's bittersweet fucking garbage because it leaves them 3 years apart with no conclusion. Got it, it's complete trash

Your words, not mine.

If they don't 'end up together', then it's bittersweet garbage.
Bittersweet is the lowest of the low in copouts to try to make a shitty garbage story into SO DEEP

Not even Shinkai's best flick.

Shinkai - normalfag edition

I know this is pasta but I cried, this movie is pure art.

After they change history/future by saving the town they lose their memories of each other except for a feeling that there is some unique person they have to meet and years later they finally cross paths in Tokyo and meet face to face.
The end. It doesn't go any further than that.

haven't watched KnK but Your Name was 2/5 movie.
the only good part of it was animation, everything else was ok or total garbage