![]() ![]() Map frame number to an angle in radians. Create new frames, set their duration.įor frNo, frObj in ipairs(ames) do Local maxDist = math.sqrt(width * width + height * height) A source imageĪdapted from this Wikipedia file is turned into this animation Travellers’ Cheques: A scam.Hi give you an idea of what’d go into making a wavy animation in Aseprite, here’s an example of one possibility. Sex: Not when you’re sleeping in a bathtub Verdict: Not the studio’s finest efforts by a long shot, Ocean Waves is nevertheless wholly earnest, gorgeously animated, and never overlong. Ocean Waves shows that its studio can put out satisfying work, even when it’s operating at low tide. If you set your standards appropriately enough, it’s pretty decent. It was, after all, a television movie made by still talented individuals, and honestly is a damn sight better than just about any made-for-TV animated films I’ve ever seen. The bar set by the studio is so high that ‘lesser’ doesn’t really mean anything. The character designs are decent, if nothing particularly special, and the score – composed by Shigeru Nagata (in his second and final movie) – is simplistic and unassuming, but not remotely as memorable as the works of Hisaishi. That it was largely created by its younger, less experienced staff members shows. That the film is barely 70 minutes long, and bookended by a lot of present-day stuff doesn’t help, as there’s less time for the story to really sink in. There’s some fun queer subtext that can be read between Taku and Yutaka, but again there isn’t much focus placed on that. The drama that escalates between the three main characters is interesting and has moments of realness, but the climax of it all feels rushed and resolved relatively quick. The issue with Ocean Waves is less that it’s bad, rather that it never fully delivers on the ideas it’s trying to convey. This is still a studio equally known for these slow, meaningful dramas as it is for its out-there fantasies and even in their lesser efforts, the quality shines through. It’s not like it doesn’t work – there’s much to like here – it’s just a lot more obvious about everything it’s trying to say. The train station encounter which kickstarts the entire film does come back at the end, but it feels more like director Tomomi Mochizuki wanted to include a flashback more to illicit a nostalgic response from its audience over anything else. But while Takahata’s movie is able to connect the past and the present meaningfully by allowing the heroine of its story be affected by her memories, Ocean Waves doesn’t do a lot with its narrative device. Back in the present day, and with the reunion getting closer, Taku wonders if Rikako will even show up.ĭue to its flashback nature, there’s an inevitable comparison to be made to another of the studio’s films, released only two years prior: Only Yesterday. Rikako’s attitude continues to cause problems between the boys, whose own awkward tendencies do little to help, until things come to a heated finale. She doesn’t reciprocate the attraction, though she seems to be into Taku, even when she asks to borrow all of his travel money during their class trip to Hawaii.Ī rift begins to form between himself and Yutaka during this time, and gets worse after Taku accompanies her to see her father in Tokyo, where they spend a(n innocent) night in the same hotel room. Rikako’s bratty attitude at school has made it hard for her to make friends, though Yutaka has an obvious crush on her. As he travels, he starts to remember the impact she had on him and his friend Yutaka. The film follows undergraduate student Taku Morisaki who, on his way to his school reunion, believes he sees his childhood friend Rikako, a girl who had transferred to his school during their final year of junior high. The idea was to make something cheaper and quicker than their usual theatrical releases and while it did go over time and budget, it would be a lie to say that it doesn’t show. ![]() Directing duties were handed to Tomomi Mochizuki who, at the time, had almost a decade of TV work. The studio had been going strong for 7 years, and was already a powerhouse of quality anime filmmaking, and this seemed like a good way for the studio heads to give the reins to the younger generation of creatives. In 1993, the creative at Studio Ghibli were asked by Nippon Television to produce a film adaptation of the Saeko Himuro novel I Can Hear the Sea. “The whole thing was starting to feel like a bad soap opera.” In Tomomi Mochizuki’s TV romance, much like life, teenage love can only lead to drama. ![]()
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