Imagine being Studio 4C...

You might simply lack the mental capacity to understand lowkey character motivations and subtle theming.

One of the first scenes of the movie is Rock going to duke Red and calling him father, and Red responding: "I told you to not call me father! I'm not your father, I merely adopted you after you lost your parents!", which is one of the most clumsy and poorly justified expository dialogue that I can remember in a major film. Talking about "lowkey character motivations and subtle theming" for such amateurish writing is chuckle worthy at best.

k

it sets up their entire relationship and explains a lot about both characters in one sentence.

the whole point is that duke red is a pompus nutjob that thinks he's better than everyone. see also his opening monologue that starts the film

everything he says and does has a theatrical style to it that isn't really shown by the other characters

Two lines to perfectly depict the difference in how two individuals perceive their respective relationship while also justifying almost all the action performed afterwards. If thats "clumy exposition", then I can't think of an anime film not suffering from it.

It's clunky, unnatural expository dialogue that would have no place in a good script. Rock should know perfectly well that calling him father would irritate Red, and even if you handwave it because Rock is autistic, Red wouldn't reiterate something that both already know like the fact that he's adopted. This dialogue is entirely in service of the audience needing explanations, and takes no account of how the characters should act to each other. It's textbook bad dialogue and exposition. A good script would find another way to clatify the relationship between them without making it feel shoehorned and unnatural.

What movies do you think have good dialogue?

>Red wouldn't reiterate something that both already know
Given how you just proposed to handwave Rocks behavior by assuming for him to be autistic (which is the point of the scenen by the way), there's no reason for Red to assume that he even remember what they had talked about in advance. In fact, the scene starts with Rock failing a job he was expected to take care of. All you make are baseless assumption about a relationship you have no intel on in an attempt to nitpick a single line. Yet your attempt to discredit it doesn't even work.

Can you think of any example of expository dialogue as bad as this?

>Given how you just proposed to handwave Rocks behavior by assuming for him to be autistic (which is the point of the scenen by the way), there's no reason for Red to assume that he even remember what they had talked about in advance.
It was a joke, but you actually took it seriously, suggesting that Rock actually is retarded to the point of not remembering that he shouldn't call Red "father", and Red tolerating Rock and making him work for him despite the fact that he's retarded to the point of not being able to grasp or remember what their relationship is? No matter how you look at this, this is shit writing.

Ponyo's better

>It was a joke
This entire post shows how little you understood about thier relationship. You clearly needed additional expositon.

>you just don't get it
Great response.
And even assuming the eventuality of Rock being retarded and Red knowingly tolerating his retardation, he should know perfectly well that reiterating to him that he shouldn't call him father and the reason why wouldn't have any effect whatsoever, making it shit writing regardless.
But we are at a level of mental gymnastic at this point far removed from the simple reality of the clunky expository dialogue we're talking about.

Metropolis tells it's entire narrative visually as animation is supposed to, the script is just to filter out literal-minded spergs who can't grasp abstract metaphors like you.

>Metropolis tells it's entire narrative visually as animation
>literally starts with terrible expository dialogue
Good job, champ.

You operate on nothing but buzzwords instead of simply accepting one of the most common character traits found in real life: the inability to cope. Did you ever consider that it might not be the characters who act "autistically" but that it is you who is unable to pick up on basic character behavior, unable to understand that an individual who keeps repeating the same line is neither autistic nor retarded but simply unable to accept reality? From the very beginning Rock is depicted as an individual with severe abandonment issues. Later it is revealed that he values family very much -- hell he caries around a picture of himself and Red as part of his personal belongings. The same way Red is desperately trying to restore his family by creating an artifical daughter. Both of them suffer from similar psychological issues, yet neither is autistic or retarded.

Your pisspoor "criticism" can be applied to every single line of spoken dialogue ever written, since everysingle one of them exists exclusively for expository reasons.

>Both of them suffer from similar psychological issues, yet neither is autistic or retarded.
If Rock knew that Red didn't want to be called father by him, and that doing so angered him greatly, he wouldn't do it, and he would rather cherish their relationship as such in private.
If Red made it clear to Red that he didn't want to be called father, he wouldn't feel the need to explain the reason why to him again, when they both already know.
This, assuming the script was well written and/or neither of them was autistic or retarded. It was clunky expository dialogue, plain and simple.
>Your pisspoor "criticism" can be applied to every single line of spoken dialogue ever written, since everysingle one of them exists exclusively for expository reasons.
No, it absolutely cannot. You can make the audience aware of facts in means that aren't intrusive and don't detract from the integrity of the world and characters you created, without making them bend over backwards to deliver exposition in the audience face. To defend these textbook bad storytelling practices so vehemently, makes me think that your perception must have been warped by the excessive consume of shitty seasonal anime, that are so often guilty of this.

No.
I haven't even watched this, but it doubt it could've been worse than that shit.

Ponyo is peak Miyazaki.
Ponyo > Totoro

Not much even though I watched it a couple of times, I guess it was pretty enjoyable. OP is 10/10 though, I still listen to it from time to time

Yes, Ponyo is Miyazaki's peak retardation
that's why he opted for a biography in his next work instead of doing more like Ponyo.

>that's why he opted for a biography in his next work instead of doing more like Ponyo.
That doesn't make much sense, since none of his film was ever the same as the one before (except Nausicaa and Laputa maybe, to some extent).

>Tekkonkinkreet is an awful movie
It's not a great movie. It blows over some character motivations with Kimura and Kuro at the very end, but what in your opinion is worth calling it downright bad?

Imagine being this autistic spammer with Reddit tier taste

Not a single example of good cinematography in this picture. Wow

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I don't remember that much, but I find the theme of Yin and Yang conveyed through Shiro and Kuro way too heavy handed, same with the minotaur and what it rapresents.
Also the story doesn't do enough to present a reality that's internally consistent and believable. There is really no reason why these kids shouldn't have been killed by the yakuza or other criminals or dealt with by the police considering the shit they pull. Then there's Snake with his flying superhumans guy, which other than feeling completely out of place, he's terribly uncharismatic and lame.
I actually wouldn't call it outright awful, but I can't see much value in it other than the visuals.

Holy plotfaggotry.

UGH, ME LIKE PRETTY PICTURE

Well you're already the most open minded person I've ran into on Yea Forums in at least six years, seriously.

Anyway, a lot of what you're saying is a matter of taste I can't really fault you for, but the comment regarding how they should've already been dealt with by then seems a bit out of touch. I don't know if you're from the country or whatnot, but in the city, in the thick, urban, downtown metropolises like Treaure Town, the cops have absolutely no incentive to do anything about that kind of behavior from that socioeconomic class and especially that age group. I live in Dallas, and there's groups of lets just say misguided youths running around vandalizing shit and fighting in the streets all up and down the highway. Cops just turn a blind eye to the homeless and impoverished because even if they take them in they won't be able to put any money into the prisons and/or pay any fines or tickets. The idea Kuro and Shiro could do what they do and be off the hook in that environment is not only excusable but realistically commonplace.

But the symbolism is heavy as shit, but I guess that's kind of my aesthetic. I like Berserk, End of Eva, Ping Pong, and Angel's Egg, so in-your-face symbolism doesn't really bother me as much as it should I guess. As for your issues with Snake, I don't really see where you're coming from. Magical realism is commonplace and just spices up stories. The only time it becomes a problem is if the story at hand is a wholly logical one which is trying to be infallible. Like, if those aliens showed up in Ghost in the Shell: Stand Alone Complex, THAT would be "out of place."

>The idea Kuro and Shiro could do what they do and be off the hook in that environment is not only excusable but realistically commonplace.
Maybe on the side of the police, but they destroy an office of the yakuza and beat the shit out of their people and they barely seem to care and be willing to retaliate. I don't think I need to tell you what would happen to them within hours in reality.

Had we seen Kuro pull that before? If that wasn't the first time, Kimura would've known him by then. Even in that scene, all his lackeys are taunting Kuro as if they didn't take him seriously. Only after he started tearing the place up did they get real. Again, that must've been the first time.

And the only reason they didn't go after him immediately after that incident is--as you see in an entire scene dedicated to this explanation--the boss also didn't take it seriously, made fun of Kimura and his men, and then even went so far as to put him out on leave under the assumption he was abjectly incompetent.

Oh, and I forgot to mention in even if the boss took Kuro seriously he wouldn't have put a hit out on him because he was trying to commercialize the syndicate and clean up the image of Treasure Town for development's sake.

give some examples then

Cringe. Bow down to the kings.

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Based retard

>OMG THEY HAVE PRETTY BACKGROUNDS AND BLAND LOOKING DESIGNS SO GOOD