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Attack of the Giants: Hajime Isayama Manga Review

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A job like Attack of the giants, with its narrative themes and paradigms related to the editorial context of shonen, it has simply never been seen. The epilogue of Hajime Isayama’s manga places an entire era as a tombstone, a decade of experimentalism for the Japanese comic book market and in which the dark fantasy of the young Japanese sensei has established itself as a real cult phenomenon, outside the Land of Growth. Sun.

The work’s deeply international breath, and its powerful dramaturgical vein, have accompanied us during almost 12 years of serialization, little more than a decade characterized by a sumptuous, never banal and, until the end, surprising writing operation. levels. We reached the end of a journey, the journey of Eren, but also of Armin and Mikasa, as well as Reiner, Levi and also Gabi and Falco and Jean and Connie with a touch of bitterness: that of an end that, despite of the moving background message, he was not able to adequately provide all the answers we had asked ourselves (for a more complete picture, read our summary of the ending of Attack of the Giants here).

A shonen out of the box

Summing up the Attack on Titan manga may not be easy: it is a work whose impact on the shonen landscape was, in 2009, devastating to say the least. A complex narrative universe, steeped in mysteries, with a “lore” partially perceptible in its early stages and extraordinarily layered as the story continued its course, one piece after another, one arcana at a time. A dark fantasy with an irrepressible stylistic imprint and a very clear script idea: to deconstruct, from the beginning, all the paradigms of an entire narrative genre. And you do it very well, Isayama: each narrative arc, each script track, each character introduced (and subsequently deepened) takes its place in a large mosaic that becomes more and more complex, gradually assuming the action-splashing tones of the first. chapters. gradually a political dimension and, gradually, more and more intimate and introspective.
Eren is the alpha and omega of a story that wants to deconstruct all the traps of the narrative and the classic hero: the predestined, despite himself, surrounded and crushed by the weight of a cast of incredible characters, slowly evolving and exploding with overwhelming (and haunting) force in a final arc in which the most incredible author choices emerge.

Attack of the Giants is a story of continuous change: an apology for violence, terrifying and cruelly realistic about war and the relativism of conflict, a critique of racism in which all the pessimistic vision of its author emerges in an overwhelming way, but is above all a story of continuous changes of roles.

A devastating metaphor about the relationship between pain and love, between heroism and martyrdom. It is a story of descent into hell, whose ascent seems possible but never predictable, as a warning. An omen that has the bitter and spicy taste of a dark world without the possibility of redemption, but in which the flashes of light and positivism towards humanity do not completely fade.

A coherent work, (almost) to the end

The last parenthesis that leads to the poignant epilogue of the work is, in fact, the sum of Hajime Isayama’s entire artistic career. In the crazy final showdown, and in the twists that enrich the already complicated tradition of Shingeki no Kyojin, all the issues addressed by the author in the 11 years of serialization intersect with violence. The authorial force of the work lies precisely in the narrative management of the entire production, which in the final arc substantially modifies and overturns the tones and perspectives of the story, playing until the end a series of twists with a devastating and sensational impact.

In the final arc, all the character development of the protagonists is played, phenomenal on an emotional level, meticulous and refined in the great design of their script. But not everything is perfect: Isayama is one of those who has always liked to ask a thousand questions to give, in the end, the right answers at the right time, feeding the expectations of the final resolution of his story.
And if until chapter 138 of Attack of the Giants the entire narrative mosaic is vigorously upheld and the qualitative bar held high, unfortunately it is precisely with the epilogue that the author could not close the work with the same authorial ideas they have always distinguished it. The themes and final message of the latest tables remain extraordinary and devastating, but the rush to bring their story to fruition without providing sufficient answers about the manga-drenched construction of the entire world will, unfortunately, remain a small blot on a great masterpiece that could have been total. A heartfelt, moving and symbolic epilogue that, however, cannot fully satisfy for the handling of some twists and certain narrative implications, which would have needed at least one more chapter, but which as a whole has at least the merit of remaining coherent. with the narrative universe of the work.

Inaccuracy and Violence: Isayama’s Stylistic Code

The graphic style of Attack of the Giants has always been a cross and a delight to its readers. Messy and imprecise at first, peculiar language and authorial style at the end. With its crude, essential, in certain situations even grotesque, Hajime Isayama has slowly imposed a stylistic code very different from the visual cleanliness and wonders of the animated version.

However, to date, it is difficult to imagine the Attack on Titan manga without the essential and deeply gory aesthetic of its young author. Panel after panel, Isayama-sensei’s pencil has managed to carve an important place for the aesthetic language of the work, a feature capable of enhancing the most violent aspect of the story and especially the dynamism in the action phases.

The curved lines, the true leitmotif of Isayama’s titanic anatomy, accompany the action without ever making it too confusing (except, perhaps, only for the final battle), a dirty and violent graphic style that fully enhances all the pathos and visual exasperation of the work. It must be said, however, that the design of the characters, too flat and little varied, especially in the initial volumes, suffers from it. One element, the visual style, which is still part of the author’s language of the mangaka, which also manages to provide flashes of direction and a simply powerful stage construction. The mirror reflected in his subjects and in his writing: a complex creature, sometimes deformed, but tremendously fascinating.

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‘Da 5 Bloods’ should win the award for best soundtrack of the year

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On April 25 we will meet the winners of the ninety-third edition of the Oscars. The winners will be chosen thanks to the vote of all academics, a process that, it must be remembered, is not the same employee when choosing the nominations.

In the case of the category of best original soundtrackIt is the Music Branch (musical branch of the academy, that is, those composers, musicians and lyricists with the right to vote) who chooses the Oscar finalists.

That is why the nominations have always been more important and relevant to me than the winners; This is a recognition obtained thanks to their colleagues, which was evident in some of the mentions over the years (the case of Alex North or Thomas Newman, composers respected by film music composers but who fail on the spot. time to be chosen to win the award.).

This time, we have a eclectic selection of scores, which although it is far from representing the best of the original soundtrack in 2020, does deserve respect and consideration.

Terence Blanchard deserves to win the Oscar this year … but will probably lose

The score that should receive the award is “Give 5 Bloods”. Brothers in Arms ”, composed by Terence blanchard. Nineteenth professional collaboration with the director Spike lee, Blanchard finally enjoys the merit that his work deserves. You can listen to it on Spotify.

After a (belated) first nomination for “Infiltrated in the KKKlan” (“BlacKKKlansman”), Lee’s new film allows him to unleash his jazz skills (remember that Blanchard is one of the highest rated trumpeters of recent times.) to transfer to an orchestra with an American tone. Get a narrative staging that is sometimes reminiscent of the long-awaited master Jerry Goldsmith and culminates in moments of triumph, perhaps reminiscent of the best John Williams.

It sounds stale, with a type of music rarely found in movies these days.. It is an admirable score and has the problem of sharing footage with a series of Marvin Gaye songs that do not coerce his sense of heroism.

Oscar 2021: the edition of the pandemic will be the most diverse in the history of the awards

Additionally, this work by Blanchard has garnered the film’s only Academy Award nomination. This data is interesting to say the least and leads to the idea that the Music Branch was very clear from the beginning that this score deserved to be considered one of the 5 of the year.

The works that have only deserved one nomination in this category are usually works of enormous quality that demonstrate that a score can stand out despite the film that accompanies it, is the case of ‘El Bosque’, ‘Resistencia’, ‘Los Girasoles’ or ‘El Violín Rojo’.

Except for the last title, they do not usually come out victorious since they do not have enough support to win the award, since this award is usually received for other circumstances (as an accompaniment to the best film of the year, as a drag from other technical awards or artistic and regulars as consolation, especially to the nominees for best picture).

It’s rare for a movie to win only in the Best Original Score category.. In any case, it is extraordinary that the Academy has recognized Terence Blanchard as’ Da 5 Bloods. Hermanos de Armas’ is one of the best movie soundtracks of recent times.

The forecast: “Soul” will win

Everything indicates that the winner will be ‘Soul’, a work already commented on when reviewing the most relevant soundtracks of last year. Recall that the original score of the latest Pixar film is written by both the duo Trent Reznor and Atticus Ross as for the jazz player Jon batiste but they did not work together to develop it.

This fact seemed to take its toll at the time of the nominations, through a disqualification (something that has happened previously with soundtracks of this type) but the Academy has seen with good eyes (and ears) the musical work, and the soundtrack has become The favorite after winning at the Golden Globes, the BAFTAs and the Critics Choice Awards, something that had not happened with an animated film since ‘Up’, from the same studio.

‘Soul’ is receiving these awards because it has an advantage in its favor and it is the jazz genre has an important narrative weight within the film. Still, the work on the soundtrack is scarce as you have two parts each working on their own.

Reznor & Ross create a strange electronic pastiche for sequences that take place in the afterlife (or more here) and Jon Batiste enhances the jazzy nature of the protagonist with short, dynamic notes of jazz in the real world. You could say that “Soul” is being rewarded by music that on certain occasions it is diegeticIn other words, it is heard by the characters in the film and does not belong in the score.

And that is One of the best ways to win the Oscar for best original soundtrack is usually to accompany a movie where the music is relevant.Check out the aforementioned “The Red Violin” or “Around Midnight” by Herbie Hancock (a score full of pre-existing songs that outrageously snatched the award from “The Mission”).

Everything indicates that Reznor & Ross will win their second statuette after ‘The Social Network’ and Jon Batiste (who is also the leader of the famous television show ‘The Late Show with Stephen Colbert’) will enter this select club of winners.

Much more interesting would be to award Reznor & Ross for their other Oscar-nominated soundtrack: “Mank.” For this work, both artists have had to leave their comfort zone and with the help of the orchestrator Conrad Pope and the saxophonist And Higgins, I have recreated the world of Hollywood of the 30s 20th century.

Composers abandon electronics and have produced an orchestral soundtrack whose starting point is Bernard Herrmann (composer of ‘Citizen Kane’) but that ends which unfolds through a beautiful romantic waltz and a series of jazz tunes. It is evident that Reznor & Ross lacks tables to be able to develop this score narratively and although the final result is irregular, there is no doubt that it is a soundtrack worthy of admiration and that shows that they are capable of surprising in other areas. and genres.

However, the score has little chance of winning as they compete against themselves for “Soul”. It is often said that when an artist is nominated twice, it is more difficult to win because the votes are divided. In my opinion, I think this is very rare, since the ballots for the best original soundtrack do not include the names of the candidates and have also won the composers John Williams and Alexandre Desplat, in 1977 and 2014 respectively, even with this circumstance.

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James Newton Howard He is one of the favorite songwriters of recent times, especially as a result of his collaboration (now non-existent) with M. Night Shyamalan. He is a solvent, interesting film music composer, with a professionalism and elegance available to few. Therefore, it is still surprising, and much, that at this point in the film, the composer I still don’t have an Oscar for his good craft.

With ‘Noticias del Gran Mundo’ he has a new opportunity, the ninth of his career (two of them were for best original song) but everything points to it being empty. Newton Howard is one of the Music Branch’s most beloved and respected composers, and sometimes he doesn’t need a blockbuster movie to see his work rewarded (the aforementioned ‘The Forest’ or ‘Resistance’).

With permission from “Hidden Life”, “Big World News” is his most important job in years and it has ended up getting nominations even for the Golden Globes and the BAFTAs (something unusual since Newton Howard is not so relevant for these awards).

Personally, it seems like a correct work but it falls a bit short within the composer’s ability. His music for the end credits is extraordinary but I wish the rest of the score had been just as risky when it came to musicalizing the western and the adventure, something the composer has previously done with better results in works like ‘Oceans of Fire’ or ‘Wyatt Earpp’, a fundamental soundtrack of the genre in the 90s.

Many wonder how James Newton Howard could go home empty again and the answer is obvious: needs a major award-level movie to win. He has the respect and professionalism to do a good job and be nominated but he needs a powerful film capable of generating conversation on the subject of the awards, something that the last candidate this year does have.

The great rival of the Pixar and Disney movie

“Minari. Story of my family” by Emile mosseri it’s a atypical soundtrack, strange and that has reached the nomination pushed by the great potential in terms of awards that the film has had.

Mosseri must be the first surprised to have landed an Oscar nomination, since this very young 35-year-old composer, Berklee graduate and leader of an independent marching band, has hardly worked in the movies. This is his fourth film and it develops an interesting potential that I am proud that the Music Branch has received and awarded a nomination.

The music of ‘Minari’ stands in stark contrast to the idyllic tone that Lee Isaac Chung seeks to capture with his images. This is an atmospheric soundtrack in new age tones that can feel fresh and cozy at the same time. It even develops an alienating tone within its seemingly simple instrumentation. It is a very suitable sound for what the narrative of the film intends.

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Mosseri builds his score from two beautiful songs sung in Korean that return us to a sound more typical of the 80s / 90s, similar to the works of Angelo Badalamenti at that stage.

It is a curious soundtrack and it has been lucky enough to be accompanied by a film that has enormous potential in terms of awards, hence its recognition since in other circumstances it would surely have gone unnoticed. Right now is the only alternative to competing with “Soul” for the award in this category.

It should be noted that other works that were in the preselection such as the extraordinary ‘Blizzard of Souls’ by Lolita Ritmanis have been left out, while works as enjoyable as’ The Call of the Wild’ by John Powell or ‘The Incredible Story of David Copperfield ‘by Christopher Willis, they weren’t even on the list.

It is worrying that, more and more, the same names and titles are repeated in the different awards. Look forward to the times when, despite having fewer ceremonies, there were more opportunities to get creative with the music on the soundtrack.

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why the spin-off with Greta Gerwig and Meg Ryan didn’t come to fruition

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It took seven years since the completion of “How I Met Your Mother” until it was confirmed that we will have a sequel directed by Hilary Duff telling us the story of how he met the father of his son. However, it has not been the first attempt to try to take advantage of the success of the series starring Josh radnor, since already in 2014 a spin-off could be launched that was going to have the participation of Greta Gerwig and Meg Ryan.

A project that seemed promising

The origins of “How I Met Your Dad” date back to February 2014, the month before the end of “How I Met Your Mother” divided fans of the series, and some of them hated it with a passion. This was likely one of the reasons CBS didn’t work too hard to move the project forward, but Let’s go over the details a bit earlier.

Carter Bays and Craig Thomas, creators of ‘How I Met Your Mother’ were behind her, participating in the writing of the pilot episode script with Emily Spivey, creator of the comedy ‘Without hitting an eye’, also counting on the collaboration in that facet of Gerwig , who was starting to make a name for himself in Hollywood at that time thanks to his participation in ‘Frances Ha’.

The episode was filmed with Rob Greenberg, signer of seven episodes of ‘How I Met Your Mother’, behind the cameras and telling the story of Sally (Gerwig), a young woman somewhat lost in life who is thinking of getting divorced despite having been married less than a year ago, getting advice from his friends on how to proceed.

The reason for his “death”

The cast of “How I Met Daddy” also featured Drew Tarver, Nicholas D’August, Andrew Santino and Ryan, who was going to act as the narrator in the series, that being one of the main points in common with “How I Met Your Mother.” Everything seemed to go smoothly, but in May of that year it became known that CBS had decided not to give the green light to the project, but the reason was something unexpected: Bays and Thomas refused to reroll the pilot, which ended up leaking long ago. later.

Of the chain they highlighted that there were elements of the pilot that did not work, so they wanted to see if they could solve the problems, following a bit the same formula as with ‘The Big Bang Theory’, whose premiere was postponed a year to re-record the episode, changing from step to part of its cast.

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CBS’s refusal to go ahead with the material they had allowed 20th Century Fox, producer of the series, tries to find a new home for the project. At that time there was talk of a possible interest on the part of Netflix, NBC and FOX, but an agreement was not reached, the contract with the actors expired and Bays himself confirmed in July through his twitter account that the project was dead.

In this way, Gerwig was free and had plenty of time to focus on ‘Lady Bird’, her acclaimed first film as a director that she dedicated herself to writing. I confess that I am curious to know what would have come out of “How I Met Your Dad”, but not enough that in return we probably would have run out of the movie starring him. Saoirse Ronan.

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Trailer of ‘LOL: if you laugh, you lose’: Amazon announces the premiere date of the comedy program presented by Santiago Segura

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Ten humorists and forbidden to laugh. With this premise that seems the reverse of the mythical ‘Don’t laugh, it’s worse’ is presented ‘LOL: If you laugh, you lose’ the new Amazon Prime Video comedy program whose The premiere will take place on May 14 as revealed in its official trailer..

Presented by Santiago Segura As masters of ceremonies for this game, Yolanda Ramos, Sílvia Abril, Rossy de Palma, Paco Collado, Mario Vaquerizo, El Monaguillo, Edu Soto, David Fernández, Carolina Noriega and Arévalo will be the ten comedians who will have a double mission: make others laugh but not smile.

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TO International format based on Hitoshi Matsumoto’s Japanese original and of which Amazon has already developed several local versions in countries such as Italy, Germany, Mexico, Japan or Australia, among others.

Miguel Martín is the showrunner of the series in which Santiago Segura will challenge these comedians for six hours, with the collaboration of Cañita Brava and Xavier Deltell, to see who manages to stay serious until the end by competing for a prize of one hundred thousand euros that will be donated to an NGO of their choice.

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