Yomi wrote:Snip.
Thanks,
Yomi. I've been keeping out of it, but you've said just about everything I've wanted to say.
This is bad art:
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The proportions are wrong by any standard, the hand is backwards, and for something that's clearly trying to stick close to the model sheets... Well, that's clearly not happening.
While I'm not going to pretend that Tate is perfect (yes, I do see that six-fingered Goku that's on screen for a nanosecond), he does absolutely understand how to draw, and his models reflect that. They're proportionally sound, but as has been brought up, they're not the least bit interested in sticking very strongly to the character sheets. They're a totally different style, but they're mostly well done for what they want to be.
From the few back and forths I've had recently, the issue seems to stem from just how different they are. For some, the shift is so jarring -- the change so strong that it just doesn't work; it's too weird, it stands out too much, and that's immersion breaking. And you know what, I totally understand that, even if I personally don't have that issue. The character sheets do exist for a reason, of course.
Another argument is that Tate's 'skin filled with water' style of movement doesn't fit with what Dragon Ball fights are -- going by Toriyama's manga. For me, this argument doesn't work, as how you interpret still panels is different from person to person. Kei, for example, although he appreciates both Tate and Shida's work, he doesn't like them in Dragon Ball, as he feels their movement doesn't capture the Kung Fu action that defines the series for him. But as we know, a lot of people love Shida, just like a lot of people like Tate, so it's clearly ticking the boxes of Dragon Ball for some.
For me, that's what makes animation so beautiful. You get to see all of these interpretations of the same material. And no, you don't have to like all of them -- absolutely not.
My frustrations these past few days have primarily come from horrendous comments insulting Tate as a person and wishing for his death, but what's made it so much worse is that I felt like my efforts over the past year to inform were wasted. That's naivety on the extent of my outreach, but depressing, all the same.
I don't mind where your opinions fall on the guy (at least not that much), but I just want it to come from a place of understanding. What's he trying to achieve? Why does it look like this? How successful has he been at it? Criticise his work with all the facts.
I know that's asking a lot from people, but I feel like that's the type of attitude that made me fall in love with Kanzenshuu in the first place. Look to learn, approach from an informed point of view, and avoid sweeping statements at all costs. Have fun with it!
It's easy to fall into the trap of spouting emotionally-charged reactions (I struggle with it a lot), but I'd like to ask that we don't engage or lament over some of the more disgusting comments when we're on this forum, and stick to talking animation in the best way we can. As Mike likes to say, if you keep talking positively about things you love, you'll do a better job of winning people over than chastising them for their opposing opinions.
And on a lighter note, I'll laugh (and cry) if after all this, the episode turns out poorly.
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