The great debate

The great debate.

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I liked Koe no Katachi more.

One's a piece of shit. The other is a bigger piece of shit.

In This Corner of the World

does silent voice cover the whole manga? if so thats the better one

One user is not right.
Another is just a faggot

Let's get it over with. Your name was overrated shit and no one watched koi no katachi.

Ueno > all

Both.

A Silent Voice.

Your Name is overrated dreck.

...

hey, not bad taste.
The film was so goddam good that it just felt like the real think and the anime just the into of the franchise.

Koe no Katachi

Your Name is entertaining but it's little more than a fun summer blockbuster. Koe no Katachi is, if not a great film, then one approaching greatness. Rare to see movies with that level of artistic seriousness.

Koe has a deeper subject, Kimi is a lot more entertaining

I'm not a Your Name hater but I really liked Koe no Katachiand think it is a better story and movie.

Koe no Katachi is great for depressed and lonely people. Kimi no Na Wa is more for normal people who feel that something's always missing but one day they'll find it.

Neither.

haven't watched u're name but I can't imagine it's worse than this shitty rushed melodrama with poorly written one dimensional characters

Let's be honest, both were pretty plain teenage melodramas. Koe no Katachi dealt with some plot devices not often found in stories like these, about bullying and lower class families and such, but in the end neither is that terribly ambitious.

That said, I'd argue against the idea that Koe no Katachi was "deeper," or more "serious." Kimi no Na Wa, silly bodyswapping aside, does delve into some pretty serious themes, I'd argue far more so and with more import than Koe. Stuff like the tension between technology and tradition, the ethics of proactivity, and most saliently this idea of an intrinsic Japanese "sprit" that transcends time and even tradition. Granted, it's not exactly Ozu's Ohayo, but there's definitely a bunch of stuff going on beneath the surface. Moreso than Koe.

I'd also argue Koe has worse characterization, or at least less balanced. The MC was nice and Ueno was also humanized quite well, but Shoko never evolves beyond this hurt puppy you're supposed to sympathize with. I don't like that much.

Shunji Iwai version was great. The Shaft anime looks like anus.

no

when are the bds coming out for this?

>Shaft trying to match up to KyoAni
We already know the result.

>The staff revealed at the press event that completion of SHAFT's animation of the film has been delayed.

What a travesty

>soundtrack
>6

Did Your Name really delve into any of that though? What did it have to say about them? What was the intention behind this film, what's being expressed? I really don't think there's anything going on "beneath the surface".

>Koe has a deeper subject
Untrue, Your Name is tackling post Fukushima identity issues. There's a lot of subtextual commentary about the zeitgeist of the era, you just have to be familiar enough to recognize it, which of course brainlets on Sup Forums are not.

Could you explain further?

I agree with , I really want to know what is it that you are hinting at.

I can see that now that you say it, but it's more of a footnote while koe no katachi's theme is the central aspect of the movie

One broke box office records, the other didn't.

Mitsuha is one of the cutest girls ever, love her voice and Kansai-ben. The first half of the movie with the light hearted swapping and comical situations were very amusing to watch, making me there was a full cour SoL series like it. The serious portions and climax were fairly underwhelming however in my opinion.
Koe no Katachis characters aren't that great, with the exception of Yuzu, but the plotting is actually good and does a great job at getting you invested. This reached more emotional highs for me and felt fairly cathartic in the end, so I guess I prefer it.

making me wish*

Koe no Katachi is much better than Kimi no na Wa and I am not saying this only as some passing, inflammatory remark. At least on the level of craft alone (which is honestly all that matters, even though uninformed reviewers like to argue about intangible things like passion, atmosphere and intent) Koe no Katachi is a well-put together work. The truth is that if you want to make a movie you have to make it like music, you have to have a rhythm. That is, the very first thing you show or the very first sound you make your audience hear is like the very first note of an orchestra. It is the departing point you set for you story and one from which you will continuously build onto until the end as you head inland of the work. Great movies are all alike in this respect - think of the Godfather, the iconic moment when you first see Vito with the cat, going on about his business - that is the signal at which an uncontrollable locomotive starts moving. Even good, recent films follow this pattern - think of Whiplash also, the first moment we see Miles Teller's character from afar we are slowly drawn into that corridor. In short, you have to create a passage for the audience from their world to the one you are about to show them. Once the audience is in the world you want them to be in, you have the duty to create the illusion of narrative development, scene after scene.
CONT.

Shinkai said that movie was about Fukushima landscape and you can make some very surface level connection there but it goes much deeper than that and Shinkai's direction in all of it is very masterful. The first shot of comet descending into atmosphere, quite breathless shot in the context of nature Vista, later recontextualized as the signifier of ongoing calamity. This is very much reminiscent of how we appreciate the nature untill we see the true horror of it. Then there's also stuff about how Japanese have forgotten about their history filled with the horrors of natural calamities as they approached new century, mirrored in the movie by them forgetting about the history of the comet even though all the necessary signs are there. There's also stuff about how the authority is so oblivious to their history, so unprepared for an incident like a natural disasters or it's aftermath and so uncaring that they would not make up their mind preemptively until the disaster is right upon them. Also the stuff about how all the town people had to leave their home and find their new communal spaces in the places unknown to them. Throughout the movie there's tons of fetishising and fantasizing about the places far away and it comes together in the end when they settle down in Tokyo.
Honestly all this stuff is very self evident but as much as people like to meme about how much they're like otaku and they know about Japan and Japanese psyche, I have not seen a single discussion about the social issues the movie addressed.
I really liked the movie, the commentary was tactful and Shinkai addressed the issues of post 2011 Tsunami/Fukushima quite well without being overly aggressive at government or technology. It was about people. A lot of these themes in the movie and Shinkai himself owes the debt of Apocalyptic lineage of Godzilla, Akira and other stuff, I think that's pretty cool as well.

I miss the old threads and pata pata

I liked KnK but these subjects interest me a lot more. Not saying that one is better than the other, both have flaws. I also think Shinkai here has reached his artistic peak in terms of direction while Yamada is still trying to find her voice that's distinct from the kyoani house style.

Shinkai and KyoAni are the cancer killing all creativity in the anime industry, and I hope everyone involved in the planning of both of these films gets killed.

Threadly reminder

And what does Koe no Katachi do? It fades in to the image of a water drop's ripple, one of the most important themes behind the main character's view on life as he justifies his misery, seeing it as the inevitable ripple of the blood he both literally and figuratively drew when younger. From there, there is no turning back to the viewer, it's question after question leading you to an awesome (in the literal sense, not the popular one) catharsis. Things are structured in such a way that the illusion of development is unapparent. First, we see the main character trying to commit suicide. Why? Oh, because he feels guilty about something he did. Cut to present again. Oh, he is speaking to that girl now, I wonder what is going to happen. Hm, nothing much happened but we see that he slept on that thought as we are drawn into his daily life, the circumstances of which make the first scene more important and a joy to watch once you go back to the movie. Of course, I am mentioning only the beginning of the movie, but it goes on like this until the very end.

Now, what about Kimi no na Wa? Well, we now there is a comet. Then, we see the differing lives of both a boy and a girl. How does that have to do with the comet we say at the very beginning? Oh, there is an intermission, ok. Nevermind, it's just part of the movie, which feels awfully misplaced. And so it goes on - these misplaced parts keep showing up one after the other. The hallmark of man who can't work with fiction is that he will view his work as one build up to a tiny thing he know he can do well. Shinkai is this man. He build his work up to music videos, again and again. It's like a 10 minute guitar song that has a nice guitar solo here and there, but that individually only lasts for about 15 seconds.

I will admit I could have made this point better, but this is how I view the difference between Yamada and Shinkai - it is a difference, above all, between understanding narrative and its rhythm.

Sure it did, but you don't need someone to narrate it. Just look a little deeper and think about the narrative, and the movie's choices. It'll take forever to explain, but think about this.

Throughout the film you have these shots of sliding doors. It's very particular, they form the only close ups in the movie. Why is that? Does the fact that train doors are filmed from the same angle add anything?

I mean, Shinkai has gone on record about his intentions for the movie. How, in the wake of a disaster, he wants to make a movie about forging fate, rather than succumbing and accepting it, like his previous works.

The movie has plenty of issues, plenty of flaws, but it doesn't lack in terms of subficial musings.

>Throughout the film you have these shots of sliding doors. It's very particular, they form the only close ups in the movie. Why is that?

kViN, what are you doing here?

Koe no Katachi is a much more tangible subject whereas Kimi no Na wa is just a fun fantastical journey.

Both are very good. You'd just watch one for escapism and the other for closure.

>Haruhi.
Instant 5/10.

I don't think there's anything you can really say about Kimi no Na wa's characters. They're just there. I don't know anything about the two leads, their friends, their family beyond the surface. There's nothing to grab on to compared to how I related to Shouya and how the film got into his headspace or how it effectively veils Shouko's character thematically.

Mitsuha has plenty going on.

Taki has nothing.

>Fukushima

You're a fucking retard. It's the Tohku earthquake.

While I won't try to defend or hate on any particular movie. Your points aren't making any sense, and frankly you sound like a high school student, spouting buzzwords without understanding what they mean.

>it's question after question leading you to an awesome (in the literal sense, not the popular one) catharsis
Catharsis is the release of tension. While you can justifiably claim the movie to be cathartic, nothing you mention here really supports that.

God I hate the fact that the Sakugabooru retard parrots that fact now. I mean, it's not exactly obscure, but every time I bring up an interesting shot they'll be like "well this faggot said it first."

>Oh, because he feels guilty about something he did. Cut to present again. Oh, he is speaking to that girl now, I wonder what is going to happen. Hm, nothing much happened but we see that he slept on that thought as we are drawn into his daily life, the circumstances of which make the first scene more important and a joy to watch once you go back to the movie. Editing rapidly between different time periods can be effective, but also disorienting. The technique isn't good or bad by itself, and you haven't brought up WHY it's good, only that it's used.

>but this is how I view the difference between Yamada and Shinkai - it is a difference, above all, between understanding narrative and its rhythm.
That's a stretch. KNNW had a pretty generic progression arc, and that worked perfectly fine. It's the same pacing Star Wars and Mimi wo had, and those were fine movies. Your terms or so broad and generic that you have a hard time expressing what you really mean.

I think KNNW had a lot of subtle characterization going on, and takes a close eye to see. A lot of people I know missed the fact that Taki studied architecture, even. There's a lot you can tell about the characters from little things, like the environments and such. Hell, I'd argue you learn more about Taki before he even shows up in Earnest, the first body swap scene, and how everyone reacts to Taki, tells us more about his personality than most of the rest of the movie. Not to say it was anything extraordinary, but it's certainly above par for this kind of movie. Mitsuha's far more fleshed out and empathetic, though. I don't think that has to be explained.

>There's nothing to grab on to compared to how I related to Shouya and how the film got into his headspace or how it effectively veils Shouko's character thematically.

I'd argue Shouko is a much worse character than the leads in KNNW. Yeah, she's involved in emotional drama and all that, but there's no quirks, no spark there, that really makes her come off as human. And she's also an incredibly passive character. Compare her to Suzu from Kono Sekai, both characters are meek and not very assertive, but in the latter we see enough of her life, how curious she is and her passions, to really get a sense of what kind of person she is. And eventually, the actions she does take construct a strong value system, and isolates what she cares about the most. Shouko, in comparison, is on the receiving end a lot and goes through a lot of melodrama, which isn't a bad thing, but the movie is so crammed with plot it's hard to grasp the character herself. Sure, we know about her family and her situation a little better, but do we know her? What does she do on a Sunday afternoon? Stuff like that is what humanizes characters and makes the audience connect, Drama is engaging but not the same as characterization.

>You're a fucking retard. It's the Tohku earthquake.
Negro, I know, but the movie is addressing both Tohoku Earthquake and Fukushima incident. Also got anything more to add than your petulant corrections?

For me it's Koe no Katachi

>While I won't try to defend or hate on any particular movie. Your points aren't making any sense, and frankly you sound like a high school student, spouting buzzwords without understanding what they mean.

My bad if that wasn't clear. I don't see why you equate using figurative language to using buzzwords though.

>Catharsis is the release of tension.
Exactly. Koe no Katachi is a catharsis because of the main character - he is holding in his emotions and building up (emotinal) tension until the end of the movie, when he finally cries. That's the catharsis. My point is that, unlike Kimi no na Wa, where the main tension of the movie is introduced in the middle (gotta save that city), in Koe no Katachi's case that tension is there from the very beginning. How would it not be if the first thing we see (and later understand) is that a boy meant to take his own life? From that point on the goal is set: Shouya's path to redemption, illustrated by him attempting suicide to him giving up on restraining his bottled up feelings.

>That's a stretch. KNNW had a pretty generic progression arc, and that worked perfectly fine.

I don't see how Kimi no Na wa had a generic progression arc. I mean, c'mon, the twist is in the middle for god's sake. Not only that, Shinkai's experiments with music videos, as I commented on earlier, make it pretty different from generic story structures. Of course, that is unless you bring up a musical, but even then the music bits fit in better with the story than three randomly placed "high points" of narrative.

No, it literally has nothing to do with Fukushima. Nowhere was it addressed that the movie was about Fukushima, not in any interview or whatever. Fuck off with your headcanon and damage control.

>I don't see how Kimi no Na wa had a generic progression arc. I mean, c'mon, the twist is in the middle for god's sake.
Yes, a twist at the end of the second act is pretty generic. The first act sets up a paradigm, the second shifts it, the third corrects it. That's like 90% of all stories.

>Not only that, Shinkai's experiments with music videos, as I commented on earlier, make it pretty different from generic story structures. Of course, that is unless you bring up a musical, but even then the music bits fit in better with the story than three randomly placed "high points" of narrative.
Complaining about scenes in particular, or stylistic choices, is very different than "narrative rhythm." If your point was that you didn't like the scenes, then say so. Don't conflate the two.

>That's the catharsis. My point is that, unlike Kimi no na Wa, where the main tension of the movie is introduced in the middle (gotta save that city), in Koe no Katachi's case that tension is there from the very beginning. How would it not be if the first thing we see (and later understand) is that a boy meant to take his own life? From that point on the goal is set: Shouya's path to redemption, illustrated by him attempting suicide to him giving up on restraining his bottled up feelings.
Dramatic lampshading isn't the same as inserting tension from the beginning. It's a way to get the audience invested, sure.

But this style of In Media Res dates back to the Greeks. And it's not exactly always good either. The technique means nothing by itself, you can't assign a quality judgement to a tool. Yes, you point out they use that tool, but WHY does it work, WHY is it good? That's what you fail to answer. All you do is summarize what happens, and then draw the conclusion that yes, the movie starts in media res. Congrats. You get a gold medal in 8th grade English!

A silent voice is a poorly directed, rushed mess, characters have zero justification for their actions and the film runs on really shallow and cringey melodrama,

kimi no na wa is a fun rom-com that doesn't take itself to seriously, nothing feels rushed and the body swap/time travel dynamic makes for an interesting catalysis for the main characters romance.

Your Name is a film you'd actually want to watch again, silent voice is an incoherent mess with too many missing pieces.

There's a bit of Fukushima there, a lot of Tohoku Earthquake disaster, it goes hand in hand but that's not what you are interested in discussing, you just want to play the semantic game for your psued credit. Do you actually have to add anything substantial to add here?

Again, where the hell are you sourcing this information? Do you have any idea what the aftermath of Fukushima was like? Or any radiation leak? It certainly doesn't involve the ground breaking, houses being demolished, and thousands instantly dead. Not to mention how rural it was, since Tohku mostly hit less developed parts of Japan.

If you find a single quote or source from the creators that it's about Fukushima, go ahead. But until then you're just speculating like an idiot due to a lack of understanding what Fukushima actually was or entailed. Look at Shin Godzilla, how concerned they were about radioactive dust, how everyone had to be sterilized and wear radiation suits and the people had to come together and solve the problem with industrial coolant. Now there's some Fukushima Parallels.

By that logic I can say that KNNW was about 9/11, just because they're both disasters. Grow a brain.

Just notice you had your own comment hidden in the greentext.

>Editing rapidly between different time periods can be effective, but also disorienting. The technique isn't good or bad by itself, and you haven't brought up WHY it's good, only that it's used.

It's good because of how much story it can include in a short amount of time (as long as you can deduce what happens in the event that the editing doesn't make that clear). It might just be personal opinion, but that is the whole point of doing art that is supposed to be meaningful to life in one way or another (and not just entertain): you have to make it so the your work acts as a microcosm of a the issue your theme is centered around. Koe no Katachi is about bullying and that is well conveyed by the specifics of the story. Kimi no na Wa is about cultural problems (I am going by what you said) and that is NOT conveyed by the specifics of the story because of its reliance on romance and other neat, purposeless little tricks that hack writers like to include in their work when they can't make it clear what their focus is.

>Complaining about scenes in particular, or stylistic choices, is very different than "narrative rhythm." If your point was that you didn't like the scenes, then say so. Don't conflate the two.

Bad scenes are a dissonance to the story's rhythm. That's the whole point

>The technique means nothing by itself, you can't assign a quality judgement to a tool. Yes, you point out they use that tool, but WHY does it work, WHY is it good?

It is good because the point of the story is showing what mess the main character put himself in. By starting in the middle of things it signifies that the storytellers know the kind of story they want to tell (in this case it's about redemption).

>All you do is summarize what happens, and then draw the conclusion that yes, the movie starts in media res. Congrats. You get a gold medal in 8th grade English!

Pulling off a good movie that starts in media res is something that only skillful writer/artists/creators are able to do. If that is how they decide to begin a movie and it doesn't all fall apart it is already a good signal that they know their stuff. My point is that this would have also been a better choice for Kimi no na Wa, since Shinkai wants to introduce the viewer to so much action anyway.

But you do agree that it's about post Tsunami landscape and Japanese psyche during and after wards. My initial points do not really change even if you take Fukushima out of the equation. That's what the movie was addressing after all.

>Throughout the film you have these shots of sliding doors. It's very particular, they form the only close ups in the movie. Why is that? Does the fact that train doors are filmed from the same angle add anything?
That they can't lock? As in the separation between Mistuha and Taki can always be undone with enough work? Are the train doors supposed to be that once they're separated Mistuha gets flung off to her fate while Taki is left behind?

I can't into symbolism.

Koe no Katachi will always be shit because they dropped the romantic sub arc in the series.

I wish people would stop thinking it's any good.

Although the source material is dogshit (KyoAni somehow managed to scrape it to kinda passable state but not really), Koe no Katachi is a better movie on a technical level.
Kimi no na wa used very safe way of telling the story (light-hearted, fast-paced and mostly schematic, without plunging into any themes fully), so it's very easy to watch, it feels nice and you completely forget about it 2 days after.
Both movies are good but not great.
Directors are pussies and should fuck off though.

>In This Corner of the World

This.
I like all three movies.
Kimi no Na Wa have obvious holes and the romance is forced, Shinkai himself already talked about how the story could have been better had more time to work on doing something really good. He did what he could in that time, even so the movie is enjoyable and the huge marketing campaign guaranteed the success. It's a good thing for the whole industry, IMO.

Koe no Katachi... it's ok, but it didn't improved the original history in any way. It ended as a pretty looking "flick", not all that could or should be. It's bad? No, just disappointing.

In This Corner of the Word is among the three the one with the stronger source material, technically is almost flawless. It impress how well it flows and how it prevents the history being hurt with all the content that had to be cut for budget reasons.

In this Corner
Koe
Kimi
In this order, anyway a good year for animated movies.

Your Name. is better, but A Silent Voice is still fantastic.

both great movies, i don't think it's fair to compare them as they're both quite different thematically (KnK is more redemption, YN is more romance) and they're both really good at different things

If silent voice was adapted into an ova and not a movie then I'd probably give it the in, but instead they cut out a hell of a lot of material that really took away from the story (the whole film subplot is actually pretty important and gives context to the bridge scene), because of that kimi is a better movie.

both are fucking flicks but Koe no Katachi did it better. Your name is pretty though and I would definitely watch the BD version eventhough I already saw this in threatres and in Sup Forums leaks last year

it was mediocre at best it was more superior to the 2 movies OP shills about

movie on the right was fun until that whole "she's already dead you been talking to a ghost and a meteor hit a place isn't that relateable not-at-all-forced drama?" then I just stopped caring

koe no katachi was fuckin great all around, every character was well made and the mc was an incredibly sympathetic character, and of course kyo-ani art goodness

On paper Your Name feels like it shouldn't work that well(shock value twist, super generic plot that's essentially every Ghibli film/Girl Who Leapt Through Time, etc) but it somehow struck a chord with me that Silent Voice missed. Even though the concept was so overdone and simple, it was executed on perfectly. It looked and sounded beautiful with spot-on art direction. The characters appeared soft and detailed, yet their designs weren't so meticulously detailed that it was overbearing or distracting. The backgrounds were similarly detailed, yet they never had so much going on that it distracted from important character interactions. Everything felt very scenic, obviously intentional due to the nature of the twist. Speaking on the twist, despite how contrived it seemed it ultimately didn't come off as baseless or too abrupt. The shots of the meteor shower were placed at the very start of the movie so they stick with you as the first shot yet don't make you think too much into them as an "oh, it's just a pretty opening" type deal. The idea of time travel wasn't unheard of since the movie had already strongly established magical forces with no clear rules. The gradual buildup to the twist was also paced incredibly well, from Taki's inability to contact Mitsuha to his extreme difficulty locating the town things were obviously gradually building towards a twist that ultimately came as unpredictable due to the lack of explicit foreshadowing yet simultaneously not off-putting due to the subconscious buildup that had been leading towards it throughout the movie. The job of clearing up time travel plot inconsistencies without delving into any convoluted theory was also done quite well. Silent Voice was a great film as well with a more unique concept for sure and equally strong presentation, but I feel the main divide between the two is that Silent Voice is a great concept executed on well while Your Name is a basic concept executed on perfectly.

Hiroshima too. The shot of the town being vaporized by the comet was pretty unsubtle.

>post 2011 Tsunami/Fukushima quite well without being overly aggressive at government or technology

It was more than that though, it goes back to the rapid industrialization and urbanization after WWII with

They are okay, but not much better than that, these shows are so bland and with complete lack of creativity, if it's going to do something exciting does something at least that is not mediocre?

people are praising this generic teen drama as if it really was something incredible, but there are , the standards are really low are not they?

Look what you can do with this media.

youtube.com/watch?v=PfQjc2hs34Y,

As to why both are so bad?

Both are good, some may think it's overrated, some may think it's better than the second comimg of Christ but they're both competent and entertaining.

You know what is neither of those two though? 5CPS what a fucking snoozefest

KnnW
KnK isn't bad or anything though

Keit-Ai > Deaf-Ai

I liked both, but KnK had an anticlimactic ending.

no the anime adaptation is garbage
so much is missing

Your name got me pumped up good for the climax but I was not satisfied with the ending, probably because I still felt like Mitsuha was still dead in a way, or probably because I walked out of the theater without much to think about the movie. I felt like I walked out in the same state I entered. I didn't feel like it made me think about anything, I didn't feel it made me a better person, etc. It's very entertaining but I feel like there's nothing in the movie I can connect to personally. On the other hand, Koe no Katachi did make me feel like I could look at life and people in a different way.

Kimi no na wa is an inherently better film, this really can't be debated. Koe no Katachi had some huge issues that can't be overlooked.

Have seen both films and both were great. Which was better?

Your heart will provide the answer

Just to sway you; which one had body changing, time travailing, ghosts?

Once in a while when I wake up. I find myself crying

Both shit

Faggot

the one without time paradoxes

>movie starts
>My Generation starts playing

Literally ruined the entire thing for me. i watch anime to experience another culture. I don't want more amerifat bullshit shoved down my throat.

>the who
>amerifat

but Koe no Katachi also had a super cute tomboy which also cannot be overlooked

Nigga that's not exclusively Japanese. That shit happens everywhere.

If Shinkai is really passing this as exclusive to then then he's fucking sugar coating this obvious topic trying to pass any sort of depth into this wishful thinking movie. I'm not saying it's bad to have movies like these but the realism of the movie doesn't compare to what you're trying to paint here.

I just wish Yamada would do Oyasumi Punpun so she could silence us all.

Seeing how she handled Koe no Katachi with lots of finesse, I can only imagine what she could do to a similar story that will work well in movie format.

>Nigga that's not exclusively Japanese. That shit happens everywhere.
Yes, social commentary that reflects the societal concerns is not exclusive to Japan. However Japan has long lineage of Apocalyptic text that are known for addressing these issues. It's not exclusively Japanese but a very Japanese thing to happen.
>If Shinkai is really passing this as exclusive to then then he's fucking sugar coating this obvious topic trying to pass any sort of depth into this wishful thinking movie.
You are assuming too much based on no knowledge of the topic at hand.
>I'm not saying it's bad to have movies like these but the realism of the movie doesn't compare to what you're trying to paint here.
In fiction there are multiple ways to tackle social concerns. It could just be addressed directly like in some of the Russian literatures of 19th century or it could be metaphoric. Fiction itself doesn't have to be based on reality, reality can be fictionalized as well.

My sister taught English in Japan for three years. Last year she was in a class with a few students that had special needs.

The other students were brutal to these students. Even in the class room. My sister of course tried to stop it, but got fed up when the administration said they didn't care.

Sister came back to Canada to teach special ed where people give a shit

>soundtrack: 6
anons been listening to too much taylor swift to have a decent taste in music

Both are shit.

>koi

Why the fuck is this a debate?

Because people have nothing better to do

>However Japan has long lineage of Apocalyptic text that are known for addressing these issues. It's not exclusively Japanese but a very Japanese thing to happen.

Apocalyptic prophecies are ever present. The bible says it. Nostradamus says it.

The thing is, cultures have their own superstitions. Same with the cultures that still exist in this current generation.

>In fiction there are multiple ways to tackle social concerns. It could just be addressed directly like in some of the Russian literatures of 19th century or it could be metaphoric. Fiction itself doesn't have to be based on reality, reality can be fictionalized as well.

But the themes Kimi no Na wa had weren't juicy ones. Nothing to really give any sort of retrospect. If Shinkai wanted to address these social issues then he'd stop painting Tokyo as this glimmering beacon of prosperity. Let's be honest, real Tokyo or any high density mega cities are really flooded with issues. There was no contrast when he fleshed out traditions in the rural areas. There was a huge imbalance.

And Yes I agree there are different ways to tell a fictional story but if we're to speak of context, what sets this apart from the rest?

Honestly I don't see it.

Both had very good animation, but Koe no Katachi is a much better movie. Kimi was basically 5 tv anime episode glued together.

Seems like people beef with Koe no Katachi is that it didnt follow the manga exactly. Using that logic, we should denounce all adaption because its not as detailed and it doesnt drop elements from the story. A good portion who have read the manga first make this argument, and seem to be the only ones saying this but I would like to see the opinions of animeonlyfags and maybe non anime fans to get their neutral opinions on it.