Joined: 18 Jul 2008
|Posted: Thu Dec 17, 2009 6:34 am Post subject:
|IsUa wrote: |
|The first time I saw this, I felt similar when I saw Makoto work (animation quality), watch the water (2m54s), the roof fight scene and of course the eyes (1m35s) |
I don't think the animation in this (superb as it is) has quite the same effect as Shinkai's. Shinkai's works are bathed in light (even the night sky is full of galaxies etc.), and they seem to show the beauty and quiet melancholy behind everyday scenes and people, his works are suffused with a sense of mono no aware (a Japanese term used to describe the awareness of the transience of things and a bittersweet sadness at their passing. see wikipedia).
On the other hand, I think the director of Kara no Kyoukai wanted to show, through the animation, the darkness that lies beneath the surface of everyday life (aozaki says something about this in the 7th film) and the madness which hides behind a thin veil of sanity.
EDIT: Aozaki has the following, very perceptive insight; "The incidents started in remote areas and moved closer to the business district. Forbidden things used to take place outside, but now a deeper darkness lurks within the daily lives of good people... It's natural that the shadows grow darker as the city gets brighter. The darkness of the city grew deeper, and the darkness of the people grew even deeper"
This seems to be the complementary opposite of what Shinkai's world represents. That's just the way I feel about it. The two directors to me represent a dichotomy of light and darkness.