Anesthetize wrote...
Dude catcher, it's 11 eps, of course it's not going to cover all bases.
It's not a matter of "of course it's not going to." It's a matter of
it should. A story must come to a close without dropping what it has decided to pick up. A show that doesn't cover its own bases is one that is incomplete and lacking.
What Ano Hana does it does spectacularly. Ever heard of the saying short but sweet? Or bittersweet symphony?
I wish, honestly, that I could say the same. My expectations for this show were so incredibly high - I thought it might even be another Honey and Clover. However, in the end, it only ends up doing one aspect of what it "does" well: the melodrama. Character interactions, done weakly. Character motivations, done contradictory to themselves. If you consider what AnoHana "does" to be its melodrama (making you emphatic towards the characters), I can agree with you.
Catcher wrote...
I got a great melodrama, but only ended up with an above-average show.
In fact, this is one of the shows that I do consider "short and sweet". Hell, the show was a damn well emotional rollercoaster for the most part. This does not, however, put me beyond criticizing it. Faults should be recognized where they are present, and despite being enjoyable, AnoHana has many of them.
Catcher you complain how characters are misaligned and their motivations unclear yet it is thing sort of confusion that makes Ano Hana so great, it brings in the belief that the characters are truly just people like you and i. Simple and realistic.
In a story, a motivation for a character's action (or, the largest offender for me in this show, lack thereof) must be able to be clearly identified as a result of an event. It is for this reason that nothing in a story past the very first influencing actions should cause contradiction between established character and progressing character. Characters in and of themselves can be self-contradictory, yes. The great majority of people, by nature, carry contradictions - it is natural. However, there is a reason for our own contradictions. In the case of a story, we watch for
resolution. Reason must be present on all accounts. By the end of a story,
everything regarding plot and character must be crystal clear to the attentive viewer. This includes the grand questions like "why did ______ do ______?" or "what was the point of this scene?" Unfortunately, there are several fronts upon which these questions cannot be answered (Menma's holding off revealing her presence is the largest offender). The only things that can be justified to be left up to debate belong to the thematic and philosophical realm.
ZeroOBK wrote...
but particularly the simultaneous crying after Poppo gave his "Why I am sad" speech. It's like someone turned on the "Applause sign" for crying.
Not to mention it ruined the emotional impact the scene had for me, pushing from melodrama to hardcore melodrama.