{"id":114742,"date":"2024-04-15T15:47:48","date_gmt":"2024-04-15T14:47:48","guid":{"rendered":"https:\/\/wrongeverytime.com\/?p=39695"},"modified":"2024-04-15T15:47:48","modified_gmt":"2024-04-15T14:47:48","slug":"the-flying-phantom-ship","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/04\/15\/the-flying-phantom-ship\/","title":{"rendered":"The Flying Phantom Ship"},"content":{"rendered":"

Hello folks, and welcome back to Wrong Every Time. Today I am thrilled to announce we are returning to the venerable archives of Toei Doga, this time exploring the 1969 feature Flying Phantom Ship. By the end of the \u201860s, the methods of film production had already changed significantly within the young animation studio; from the humble beginnings of Hakujaden being key animated largely by two artists, the Toei team had expanded to the point where they were generally producing two animated films at the same time.<\/span><\/p>\n

This means we sadly won\u2019t see Yasuji Mori\u2019s hand on Flying Phantom Ship, but never fear – we\u2019ve got Hayao Miyazaki here to console us, who was apparently responsible for designing and animating this film\u2019s giant robot. Miyazaki is here accompanied by a battery of Toei mainstays, from original veterans like Reiko Okuyama to key Puss \u2018n Boots collaborators like Sadao Kikuchi. Additionally, animation director Yoichi Kotabe is a legend even setting aside his Toei Doga work; he\u2019d follow Miyazaki from Toei to first Heidi, where he\u2019d serve as character designer and animation director, and then onward to Nausicaa, before \u201csettling down\u201d to become the animation supervisor of decades worth of Pok\u00e9mon cartoons. The further we travel through Toei Doga\u2019s catalog, the more obvious its creators\u2019 various post-Toei adventures become – but for now, let\u2019s savor the pleasure of seeing all of them in one place, as we journey through one more classic!<\/span><\/p>\n

<\/span><\/p>\n

Flying Phantom Ship<\/b><\/p>\n

\"\"<\/p>\n

We open with a lonely foghorn crying out across the sea, a ship concealed by mists in the distance. This\u2019ll be interesting; Toei\u2019s films often include flourishes of horror, but I\u2019ve yet to see them tackle something like a dedicated ghost story. I wonder if the conclusion of Puss \u2018n Boots proved to be something like a trial run for this film, with its exceedingly haunted castle and skeletons<\/span><\/p>\n

I recall Yasuo Otsuka <\/span>attempted<\/span><\/i> to make a spooky skeleton for the much earlier Magic Boy, but his realistic interpretation of a fully articulated bone structure ended up coming across more as funny or endearing, prompting laughter among theater audiences. A pity we won\u2019t get to see him take another stab at horror here<\/span><\/p>\n

The narrator tells us of a ghost ship that is frequently seen before disasters<\/span><\/p>\n

\"\"<\/p>\n

Lovely textured backgrounds realizing this creaking metal behemoth, making it a pleasure simply to slowly pan across them through the credits. In the era of digital background design, it is much rarer that a production can engage and impress simply through slow pans like this; frankly, it often feels like modern shows have to <\/span>distract<\/span><\/i> from a full appreciation of their backgrounds, lest the mechanical seams of the art design become too apparent<\/span><\/p>\n

I\u2019m impressed with how vivid this scenery looks in spite of the limited color palette. Sorta like Angel\u2019s Egg; all variations on blues and grays, but all the more evocative for it<\/span><\/p>\n

Welp there\u2019s our first skull, making sure to keep a close eye on the helm<\/span><\/p>\n

\"\"<\/p>\n

Is it alive!? Nope, there\u2019s just a crab inside, complete with some very convincing crab animation<\/span><\/p>\n

We transition to get our first glimpse of the film\u2019s human protagonist, and it\u2019s quite a shock! This boy and his family\u2019s designs are utterly unlike anything in the earlier Toei catalog. Rather than either the traditional painting-reminiscent designs of Toei\u2019s earliest films, or the more modernism-inspired designs of Little Prince, these characters feel far more indebted to contemporary, Tezuka-derivative manga character designs. I suppose that\u2019s no surprise given the film is an adaptation of a comic by Shotaro Ishinomori (Cyborg 009 and Kamen Rider\u2019s creator), but it\u2019s nonetheless a bit of a shock to see designs that undercut the quasi-timelessness of Toei\u2019s earlier films<\/span><\/p>\n

\u201cI sure goofed up last time. I brought home a frozen fish!\u201d That sense of clear temporal place is further bolstered by the very modern concerns of our heroes<\/span><\/p>\n

\"\"<\/p>\n

The designs are pleasant and expressive nonetheless. Compared to Toei\u2019s previous characters, you can tell these were initially created for still manga panels; there\u2019s far more personality embedded in the basic shapes of their faces, like this father\u2019s strong jaw and the lines beneath his eyes. In contrast, the earlier Toei Doga character designs, especially for the protagonists, tend to stick to more simplified, rounded shapes, which make them easier to animate. Motion is the vehicle through which previous Toei Doga protagonists conveyed their personality, whereas these designs are intended to convey personality even in a still frame<\/span><\/p>\n

These characters are having altogether too lovely of a family trip, I imagine something terrible will happen soon<\/span><\/p>\n

\"\"<\/p>\n

This dog\u2019s array of laughing faces reflects this film\u2019s odd position between limited and full animation; rather than the fluid expression shifts of earlier films, he transitions between a sequence of still expressions that are each held for about a second<\/span><\/p>\n

\u201cPlay with your junk like a real dog!\u201d Rude<\/span><\/p>\n

Suddenly, a car goes through the railing of a cliffside road! Our boy springs into action<\/span><\/p>\n

The car has no driver, but the passenger is Mr. Kuroshio, who owns a variety of local businesses<\/span><\/p>\n

\"\"<\/p>\n

Our boy\u2019s name is Hayato. His energetic movements call to mind Horus, and feel like a natural precursor to Future Boy Conan. Wild seeing so much of what made Miyazaki\u2019s next era great here in these foundational texts<\/span><\/p>\n

The woman who was in the car states that a skeleton appeared on the road. Hayato\u2019s father helpfully suggests they retire to a nearby haunted house<\/span><\/p>\n

Really just min-maxing our horror staples here, and I\u2019m all for it. Horror in animation is a tricky business owing to the inherent dramatic distance of the medium; it\u2019s hard to feel like you\u2019re genuinely vulnerable when you\u2019re clearly watching characters in an invented, animated world. The easier route is leading the audience to feel fear <\/span>for<\/span><\/i> the characters on-screen, as in brutal stories like Shiki, but here I\u2019m just happy to admire whatever wild animation brings these ghouls to life<\/span><\/p>\n

\"\"<\/p>\n

A crack of lightning serves as our transition to the haunted house\u2019s gates. This transition somewhat echoes the flashes of light used for key moments in Puss \u2018n Boots, while this perspective shot at the gate is a natural way to draw the audience more directly into the action, framing the sequence as if we ourselves are walking into the house<\/span><\/p>\n

Oh man, love this overhead shot with all these hanging willows. Terrific use of negative space, making our heroes seem all the smaller due to their confinement in the bottom left corner of the frame, with these branches reaching out towards them like malicious fingers<\/span><\/p>\n

\"\"<\/p>\n

The dog Jac<\/span>k once again gets much of the most playful expression work. Animation that is in and of itself horrifying is a rare feat; I imagine the mutations at the end of Akira, or the morphing nightmares of Magnetic Rose. More important for horror is scene-setting, which means the background artists and storyboarders here are bearing the bulk of the tonal drama, while the animators work on tone-balancing flourishes like Jack\u2019s goofy reactions<\/span><\/p>\n

Yep, more goofy Jack expressions as he elects to help Dad search for firewood. It reminds me again of how in earlier Toei Doga films, the somber drama often meant these legendary animators were mostly busying themselves realizing tonally discordant animal mascot shenanigans. Otsuka\u2019s preferred approach to animation demands a film like Puss \u2018n Boots, where playful movement is in fact the point of the feature<\/span><\/p>\n

\"\"<\/p>\n

The wide gulf between how Ishinomori draws male and female characters reminds me of Leiji Matsumoto; functional dot eyes and simplified forms for boys, luxuriously detailed glimmering eyes for girls<\/span><\/p>\n

More smart employment of negative space as Hayato looks for towels, presenting this mansion\u2019s hallways as vast and impenetrable, Hayato\u2019s candle merely a flicker in the darkness<\/span><\/p>\n

In one standout cut, the darkness practically reaches out to grasp them, much like the branches outside<\/span><\/p>\n

\"\"<\/p>\n

But then, a skeleton! More interesting limited animation cuts here, with our heroes\u2019 flight conveyed as repeated movement cycles overlaid over a transparent skull<\/span><\/p>\n

It seems clear this film was intended as a less resource-intensive film than its predecessors, and it\u2019s interesting seeing a Toei film straddle the line between film and TV production methods. The fact that this is a horror film works in its favor in that regard – as I said, horror is more about atmosphere than motion, more about anticipation than execution, meaning evocative backgrounds and strong sound design can do a lot of the work that would necessarily be realized through animation in another story<\/span><\/p>\n

Kuroshio wakes, and Hayato\u2019s father introduces himself as Arashiyama<\/span><\/p>\n

\"\"<\/p>\n

Yeah, the film can frequently get away with still held shots as spooky noises rise in volume. Economical trick!<\/span><\/p>\n

The skeleton captain appears outside the window! I\u2019m instantly reminded of Slint\u2019s \u201cGood Morning, Captain,\u201d because I will always be an indie rock nerd<\/span><\/p>\n

The skeleton informs us that ten years ago, a tragedy befell him. His crew were beaten to death, he was poisoned, and his wife and child were led to his ship, which was then set on fire. A real bummer all around<\/span><\/p>\n

He also says he\u2019s still seeking revenge, which I assume means Kuroshio was responsible for his misfortune<\/span><\/p>\n

\"\"<\/p>\n

The group is joined by Mr. Haniwa, the \u201cChief of Defense.\u201d Amused by this world\u2019s delightfully children-oriented perception of adult jobs<\/span><\/p>\n

Ooh, loving these sleek modern building and car designs as we move past the moment of crisis, and return to the big city. Lots of simplified shapes and rounded metal forms, which serve as a strong contrast with the textured, organic look of the haunted house<\/span><\/p>\n

Apparently the Phantom Ship has already taken down ten transport vessels. The perils of shipping, I guess<\/span><\/p>\n

Hayato informs his father of a challenge his schoolmates are participating in: collect 1,000 Boa Juice caps to win a trip in a submarine<\/span><\/p>\n

\"\"<\/p>\n

And holy <\/span>shit<\/span><\/i>, suddenly a tank drives over the traffic jam. Luscious mechanical animation as this overwhelming machine crushes a line of cars; with so little time yet such talented animators, I imagine this film will continue to offer discordant shifts from limited animation to impressive displays like this<\/span><\/p>\n

\u201cI am the Golem! The Phantom Ship\u2019s messenger of death!\u201d Sure, say whatever you need to say to justify a giant robot\u2019s appearance in a ghost ship narrative. Regardless, I\u2019m just happy to see Miyazaki having fun – in fact, this robot\u2019s rampage feels strongly reminiscent of Gulliver\u2019s Journey to the Moon\u2019s final robot battles, which I believe also involved heavy Miyazaki contributions<\/span><\/p>\n

\"\"<\/p>\n

Love the animation of these buildings crumbling before this creature. Even within this one sequence, the contrast between the fluidity of that destruction and the repeated cuts of this one surface-to-air missile launcher embody this film\u2019s lopsided approach to animation<\/span><\/p>\n

Also like the rough, sketchy linework used for the frantic motion of this debris falling on our heroes. Apparently Yoshinori Kanada was greatly inspired by this whole golem sequence; strange to think Miyazaki was already an inspiring predecessor to the next generation back in the ’60s when he’s still directing movies today<\/span><\/p>\n

Hayato\u2019s house was also destroyed by the robot, er, golem<\/span><\/p>\n

\"\"<\/p>\n

Oh no, his mother was actually killed in the collapse! Genuinely painful moment as he wails over her body and blames her for leaving him behind. I\u2019d lament the lack of Yasuji Mori being here to really make this animation sting, but frankly, Hayato is an exceedingly un-Mori-like character in all regards; these clumsy, staggered movements suit him much better<\/span><\/p>\n

And with his father near death as well, he reveals that Hayato was actually found washed up on the shore ten years ago, and was then adopted by his current parents<\/span><\/p>\n

He also reveals that Hayato possesses a photo of his birth parents<\/span><\/p>\n

His father then immediately dies. Jeez, what a grim turn!<\/span><\/p>\n

\"\"<\/p>\n

I mentioned this film\u2019s \u201clack of timelessness\u201d relative to the other Toei Doga films, and that feels even more apparent given these new narrative twists. The boy who must make his own future, having just received a hint from his dying father, is a staple of classic manga that would carry on through Tomino, Anno, and beyond, while these scenes of urban desolation inevitably echo imagery of the atomic bomb\u2019s aftermath. Toei might have been largely seeking to compete with Disney, but Ishinomori was addressing the world around him<\/span><\/p>\n

\u201cStop acting like you\u2019re better than me! I don\u2019t mind being on my own!\u201d Hayato offering some very human responses to this tragedy, rebuffing Jack to avoid grappling with his own feelings<\/span><\/p>\n

\"\"<\/p>\n

They reconcile over his mother\u2019s forlorn shoe. Kids of this generation couldn\u2019t really keep loss at a distance; tragedy of an unimaginable scale was just a collective assumption of their childhood, prompting a premature understanding of grief and despair that would carry on into the art they produced<\/span><\/p>\n

We pick up at Kuroshio\u2019s manor, where he offers to let Hayato stay. His wife mentions that \u201cour son would be just about your age if he were alive,\u201d so that seems like a clue<\/span><\/p>\n

Hayato desires revenge against the ship and its foul golem<\/span><\/p>\n

\"\"<\/p>\n

A news brief on the continuing disaster is interrupted by a commercial for Boa Juice. \u201cWhat a stupid time for a commercial!\u201d This film is definitely infused with an uncommonly sharp comedic edge for a Toei Doga feature, which I assume is also Ishinomori\u2019s influence<\/span><\/p>\n

The Phantom Ship appears in Tokyo\u2019s harbor, and actually seems to engage in battle with the golem! What is happening!?<\/span><\/p>\n

Oh my god, the Phantom Ship is also equipped with secret missile bays, alongside some kind of\u2026 lightning laser attack? Fantastic stuff<\/span><\/p>\n

And the golem crashes into the harbor! A great victory for the phantom ship, which was apparently tired of this golem ruining its good name<\/span><\/p>\n

\"\"<\/p>\n

Hayato follows Kuroshio into what appears to be an empty room, which is presumably his launch route for controlling the giant robot<\/span><\/p>\n

Ooh, impressive sequence of movement into depth as Hayato rides on this mechanical chair, employing alternatingly shaded tiling on the floor to make it easy to parse the distance being crossed. As ever, the gulf between this film\u2019s standout animation sequences and generally economy of animation is really something<\/span><\/p>\n

Yep, the chair takes Hayato through first a secret arms factory, and then right past the giant robot. An easy thematic takeaway here, implying Japan\u2019s post-war efforts to revitalize the economy might be concealing immediate attempts to remilitarize, in spite of the obvious cost to the common man<\/span><\/p>\n

\"\"<\/p>\n

Ooh, beautiful cut of a manta ray swimming beneath this moon pool. Quite the contrast between its realistic design and our boy Hayato<\/span><\/p>\n

Kuroshio states that the Chief of Defense may have to retire due to his failure to protect the golem. A clear implication that the military exists downstream of secret moneyed interests<\/span><\/p>\n

\u201cMany excellent men were among the pilots, but they believed they were dying for a cause, so who\u2019s the wiser?\u201d The rank-and-file soldiers are also victims of capitalism\u2019s ambitions<\/span><\/p>\n

\"\"<\/p>\n

\u201cTanks and missiles were made to kill! This has been very profitable.\u201d \u201cWe manufacture them using tax dollars, so the more we destroy, the more money we rake in.\u201d I apparently don\u2019t have to spell out the themes here, the film itself is pretty intent on underlining that modern militarism is really just a mask disguising the inhumane will of capitalism<\/span><\/p>\n

Another clever trick to create drama within still panes here, by repeatedly zooming in on the cels to create anticipation while this computer decides the Chief of Defense\u2019s fate<\/span><\/p>\n

Also just a fun narrative flourish, adding some suspense to what is essentially just a man being fired<\/span><\/p>\n

\"\"<\/p>\n

And again, the sound design does the lion\u2019s share of the work here, with that ominous, impersonal clacking of keys leading into a tense silence before the Chief\u2019s chair descends, and he wails while plummeting out of view<\/span><\/p>\n

\u201cI want you to introduce stories in the Kuroshio Times and on Kuroshio TV, demanding an increase in the Defense Force.\u201d Weapons manufacturers and other societal ills integrating into and corrupting alleged news programs? Say it ain\u2019t so! Kinda wild to see a children\u2019s film from the \u201860s so precisely articulating the societal rot that would define the next half-century<\/span><\/p>\n

\"\"<\/p>\n

Meanwhile, one of Kuroshio\u2019s other subsidiaries spearheads the urban redevelopment plans for the cities they themselves destroyed. \u201cFunnily\u201d enough, this is one of the few ideas here that doesn\u2019t directly correlate to modern American society, almost entirely because the people pulling the strings are too racist to encourage public works programs for what they consider the \u201clesser elements\u201d of society. Of course, that would be less of an issue in as homogeneous a nation as Japan, where such feuds generally fall more on class lines (like with local farmers protesting the Tokyo airport)<\/span><\/p>\n

Kuroshio reveals he also used to be friends with the Phantom Ship\u2019s captain, but ultimately betrayed him<\/span><\/p>\n

\u201cI\u2019ll expose them for what they really are!\u201d Another difference between this story and our modern world is this idea that \u201cbringing the truth to light\u201d will actually do anything. We\u2019re well aware that Rupert Murdoch and the Koch brothers have poisoned the minds of billions, there\u2019s just nothing anyone can do about it<\/span><\/p>\n

\"\"<\/p>\n

\u201cOfficer! Why aren\u2019t you going after the <\/span>real<\/span><\/i> bad guys!?\u201d Of course, some things never change<\/span><\/p>\n

The officer appears thoroughly addicted to Boa Juice<\/span><\/p>\n

And as we soon learn, excessive consumption of Boa Juice actually melts you into a fine foam, and then to nothing at all. Genuinely horrifying sequence of this man on the street melting into nothing – I\u2019m sure this film inspired more than a few nightmares<\/span><\/p>\n

Hayato is captured by Kuroshio\u2019s charmingly designed goons, who drag him to\u2026 a TV special in his honor? Kuroshio\u2019s trying to buy him out!<\/span><\/p>\n

\"\"<\/p>\n

But Kuroshio has miscalculated! Using his momentary stardom, Hayato tells the people of Kuroshio\u2019s villainy!<\/span><\/p>\n

A grim comedy in Hayato\u2019s speech being hastily cut off by a Boa Juice commercial. This film is angry as hell!<\/span><\/p>\n

Suddenly, gargantuan crustaceans begin emerging all across the city. More obvious nightmare fuel; these are indeed some of the most terrifying designs in Toei\u2019s history, with none of the playful energy that added a certain relatability to Otsuka creations like that skeleton or the Monkey King\u2019s fight with a scorpion<\/span><\/p>\n

Apparently these creatures are messengers of the Boa, and they\u2019re rightly pissed that Kuroshio has failed to take care of the Phantom Ship<\/span><\/p>\n

\"\"<\/p>\n

Dear lord! This megacrab picks up Kuroshio and douses him with bubbles, melting him in seconds. This cut of his clothes falling shapelessly from this creature\u2019s claw is genuinely chilling<\/span><\/p>\n

More excellent use of sound design, with the mechanical whirring of this megacrab emphasizing its encroaching menace as it chases Hayato to the roof of the TV studio<\/span><\/p>\n

And again, smart use of perspective shots to draw us into Hayato\u2019s headspace as the crab brandishes its mighty pincers<\/span><\/p>\n

Fortunately, he is beamed up by the Phantom Ship in the nick of time. Nice composition of the ship above the city here, really emphasizing the aesthetic contrasts of the film<\/span><\/p>\n

\"\"<\/p>\n

That composition only makes the following shot-countershot conversation of Hayato and the captain stand out all the more. This film is more frequently driven by conversation than visual drama, which also helps limit its animation requirements, particularly since there\u2019s very little character acting in the style of Little Prince or Horus<\/span><\/p>\n

The skeleton captain reveals that the ships he sunk were actually loaded with weapons<\/span><\/p>\n

\u201cThey\u2019re probably after the usual, world domination.\u201d As you do<\/span><\/p>\n

The \u201cBoa\u201d relay their orders from a secret undersea base marked with a big star. Alright, we get it, it\u2019s America<\/span><\/p>\n

\"\"<\/p>\n

\u201cIt\u2019s a must-have device for any Phantom Ship!\u201d This captain\u2019s quite charming, skull face aside<\/span><\/p>\n

\u201cThis is the interior of the ship.\u201d An extremely Miyazaki embellishment here; the dude absolutely loves mechanical diagrams, a fascination he shares with Otsuka and presumably countless other animators. Sherlock Hound loves getting into the nitty-gritty of how Moriarty\u2019s hideouts are constructed, and so many Miyazaki productions feature a car or plane of some sort being dismantled in motion, each layer of mechanical structure falling away in turn<\/span><\/p>\n

Hayato is then struck by a bout of Boa Juice withdrawal! That fiendish liquid!<\/span><\/p>\n

\"\"<\/p>\n

After a Boa attack dislodges the captain\u2019s mask, we finally reveal he is indeed Hayato\u2019s father. This half-scarred look seems like it was a popular design quirk in this film\u2019s era<\/span><\/p>\n

I\u2019m curious as to how the film achieved this warbling underwater look – looks like they moved some sort of uneven transparent filter over the cel or something<\/span><\/p>\n

\u201cWe\u2019re going to pilot this ship ourselves, and take out the Boa base!\u201d Love this nurse\u2019s can-do attitude. Also interesting seeing this Ishinomori-style heroine in a Toei Doga picture; Toei’s heroines usually all conform to Yasuji Mori\u2019s somewhat reserved style, a style that would go on to inform Miyazaki\u2019s ideal heroine<\/span><\/p>\n

\"\"<\/p>\n

\u201cWe created the Boa by drinking all this juice! We have to throw this crap out!\u201d Hayato reframing the threat of the Boa as a general call to action towards the audience, asking viewers to be more mindful of how they unthinkingly contribute to social ills<\/span><\/p>\n

More ominous imagery as an unmanned tank rolls through the city, its entire crew reduced to limp clothes draped about the cabin. This film has wildly exceeded my expectations in terms of finding genuine horror in animation<\/span><\/p>\n

Ooh, another great negative space-based composition, with the phantom ship descending down a thin ravine at the bottom of the ocean. The massive scale of the darkness versus the thin column containing the ship emphasizes just how deep they\u2019re going, and how forbidding this terrain<\/span><\/p>\n

\"\"<\/p>\n

They emerge from the ravine into a ship graveyard! Just one exciting visual setpiece after another down here; in spite of this film\u2019s relative lack of animation, they\u2019ve found a way to make an exciting finale based largely around background art and sound design<\/span><\/p>\n

And now the ship is trapped in a minefield! Plenty of generous effects animation for these explosions, I must admit<\/span><\/p>\n

Oh no, the base is defended by a giant octopus! It\u2019s funny, Otsuka was absolutely Toei\u2019s go-to guy when it came to animating weird monsters like this, and you can certainly feel his absence in the relatively labored, low-drawing-count movements of creatures like this and the megacrabs<\/span><\/p>\n

\"\"<\/p>\n

Hayato comes up with the clever idea of using the ship\u2019s magnetic tractor beam to fuck up the octopus-robot\u2019s computer systems<\/span><\/p>\n

Ooh, delightful frenetic movement as the octopus goes on a rampage! This film feels like a case study in how to maintain visual intrigue in spite of largely sticking with limited animation; as a blueprint for the next era of TV animation, I imagine it was actually a lot more useful and actionable than Toei\u2019s earlier films, whose lessons are mostly \u201cemploy some of the best animators of all time\u201d<\/span><\/p>\n

\"\"<\/p>\n

The ship\u2019s final charge is a thrilling variation of that \u201cmechanical device collapses around its pilots\u201d beat I mentioned, as the phantom ship is stripped of masts, weapons, and armor in turn by the relentless enemy fire<\/span><\/p>\n

As the escape pod ejects, the phantom ship is sent directly into the Boa base!<\/span><\/p>\n

Turns out the Boa base was actually a giant clam hidden beneath the ocean floor. Never trust clams, our final lesson<\/span><\/p>\n

\"\"<\/p>\n

And Done<\/b><\/p>\n

Excellent work, Hayato and company! That was a thoroughly engaging watch for all sorts of reasons, with even its limitations proving an interesting comparison to earlier Toei Doga films. The film reflects a decline from the animation standard set by Little Prince, Horus, and Puss \u2018n Boots, but it makes up for its fundamental paucity of key animation through a variety of scrappy solutions: prioritizing conversation over action, suspense over resolution, and sound design\/storyboarding as a vehicle for drama. It feels like we can through this film see Toei emerging from the frank outlier of its early golden age into a more sustainable, eventually television-oriented production model. Additionally, it was also great fun watching a Toei film that isn\u2019t just set in the modern day, but also determined to grapple with the political backdrop of modern society. Plus it\u2019s just a plain excellent adventure by any metric – evil crabs, giant octopuses, and a ghost ship with a laser cannon. Who can say no to that?<\/span><\/p>\n

This\u00a0article\u00a0was\u00a0mad<\/a><\/em>e possible by reader support<\/a>. Thank you all for\u00a0all that you do.<\/em><\/strong><\/p>\n\n

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SalesExecutive@ITSec.vip<\/p>","protected":false},"excerpt":{"rendered":"

Hello folks, and welcome back to Wrong Every Time. Today I am thrilled to announce we are returning to the venerable archives of Toei Doga, this time exploring the 1969 feature Flying Phantom Ship. By the end of the \u201860s, \u2026 Continue reading \u2192<\/span><\/a><\/p>\n","protected":false},"author":65,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-container-style":"default","site-container-layout":"default","site-sidebar-layout":"default","disable-article-header":"default","disable-site-header":"default","disable-site-footer":"default","disable-content-area-spacing":"default","footnotes":""},"categories":[25],"tags":[61,122,127,129,124,128,125,132,131,133,126,130,123,66,94,88,97,56,64,65,60,112,40,75,95,104,33,120,105,101,98,115,30,29,41,86,70,69,68,72,71,26,118,108,87,46,55,48,52,54,51,50,83,62,58,57,109,35,59,63,85,79,82,96,80,27,81,114,44,42,43,45,38,39,110,117,100,111,116,73,89,90,92,91,93,84,78,37,102,34,36,77,67,74,99,113,119,28,28256,121,32,47,49,53,103,31,76],"class_list":["post-114742","post","type-post","status-publish","format-standard","hentry","category-anime","tag-airpods","tag-anime","tag-anime-characters","tag-anime-cosplay","tag-anime-edits","tag-anime-merchandise","tag-anime-movies","tag-anime-news","tag-anime-recommendations","tag-anime-reviews","tag-anime-series","tag-anime-streaming","tag-animes","tag-app-store","tag-app-store-samsung","tag-appgallery","tag-appgallery-oneplus","tag-apple","tag-apple-music","tag-apple-tv","tag-apple-watch","tag-bbc-sport","tag-best-mobile-games","tag-bixby","tag-bixby-xiaomi","tag-champions-league","tag-cyberpunk","tag-cyberpunk-2077","tag-fantasy-football","tag-fifa","tag-football","tag-formula-1","tag-fortnite","tag-free-fire","tag-free-mobile-games","tag-freebuds-pro","tag-galaxy-a52","tag-galaxy-note-20","tag-galaxy-s21","tag-galaxy-watch-4","tag-galaxy-z-fold-3","tag-game","tag-games","tag-golf","tag-harmonyos","tag-how-to-backup-iphone","tag-how-to-factory-reset-iphone","tag-how-to-reset-iphone","tag-how-to-restore-iphone","tag-how-to-unlock-iphone","tag-how-to-unlock-iphone-5","tag-how-to-unlock-iphone-6","tag-huawei","tag-ios","tag-ipad","tag-iphone","tag-live-soccer","tag-lol","tag-macbook","tag-macos","tag-mate-40-pro","tag-mi-11-lite","tag-mi-home-security-camera-basic-1080p","tag-mi-home-security-camera-basic-1080p-huawei","tag-mi-smart-band-6","tag-minecraft","tag-miui","tag-mlb-scores","tag-mobile-game-design","tag-mobile-game-development","tag-mobile-game-marketing","tag-mobile-game-monetization","tag-mobile-games","tag-mobile-gaming","tag-nba-scores","tag-nba-standings","tag-nfl","tag-nfl-scores","tag-nhl-scores","tag-one-ui","tag-oneplus","tag-oneplus-9-pro","tag-oneplus-buds-pro","tag-oneplus-nord-ce-5g","tag-oxygenos","tag-p40-pro-plus","tag-poco-x3-pro","tag-pokemon","tag-premier-league","tag-pubg","tag-pubg-mobile","tag-redmi-note-10-pro","tag-samsung","tag-samsung-pay","tag-soccer","tag-sports","tag-steam","tag-steeam","tag-the-flying-phantom-ship","tag-top-10-anime","tag-valorant","tag-when-do-the-iphone-7-come-out","tag-when-does-the-iphone-7-come-out","tag-when-is-the-iphone-7-coming-out","tag-world-cup","tag-xbox-series-x","tag-xiaomi"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/114742","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/users\/65"}],"replies":[{"embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/comments?post=114742"}],"version-history":[{"count":2,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/114742\/revisions"}],"predecessor-version":[{"id":115477,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/114742\/revisions\/115477"}],"wp:attachment":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/media?parent=114742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/categories?post=114742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/tags?post=114742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}