>>26108 >“My parents emigrated from Korea in the early 1970s and built a bustling grocery store in the Bronx,” <Doesn't make a movie about rooftop Koreans protecting their stores from Niggers They haven't even dropped the first trailer, and we immediately know that it's shit!

>>26108 >Our story is based on the classic elements — fire, water, land and air What about steel and wood, you fucking Gook! The "four elements" concept is a Western idea, meanwhile Asiatic cultures typically have four or five elements, which play off and/or cancel each other out. > What if these elements were alive? Refer to your fucking Gook roots and they already have tails documenting this shit!

>>26109 >>26110 Who are you yelling at?

>>26110 Anon, their last asian themed movie directed by an asian american didn't even know what red pandas are or that neither they nor giant pandas had any importance in chinese culture or myth.

>>26108 After the red paste that was Red, Pixar is using another drawn from real life story instead of actually making something original? Oh boy, this is gonna fail.

>>26117 I get the impression that Pixar is trying to become the Western "equivalent" of Japanese SoL films; looking at what they're doing with this, Period Blood Panda, Gay Mermen, and Niggers Have No Souls.

>>26119 That's an insult to japanese SoL media. Slice of life anime & manga can be really comfy.

Those basic bitch designs reminds me of those "learn with colors" videos, just like Insidious Out did. Why are there so many kids movies with mundane settings nowadays? Is it from lack of creativity? Is it the current formula for success, like how every kids show had to ape Spongebob to get greenlit? Or is being a minority retelling their "number one feelgood story in America™" the only way to get your foot in the door right now?

>>26120 Wonder why SJW can't get that the whole point of japanese entertainment its the most sad and desperate escapism, because of how stressful and "cold" being japanese is, nips themselves have a very hard line between fiction and actual behavior.

>>26129 Most of it is just a complete misunderstanding of culture, mostly purposeful either through typical American ignorance of places other than the United States, or the condescending racism typical of "progressives". It's also the usual retarded thing of "If someone writes about something that means they must support it/that's reflective of how they are as a person." Which is why you have interviews with Gen Urobuchi where he says people think he's a morbid and nihilistic person because of the themes of his works and complains that people lose the message in the presentation.

>>26108 The audacity to put "From the director and producer of The Good Dinasaur" as if that isn't universally considered a shit movie, and pixar's worst film.

>>26108 Two men made Pixar great. One has died, the other was metoo'd. So it's shit now.

Nu-Pixar hasn't made anything good since Up, everything after is a mixed bag of "Acceptable" to "If it wasn't Pixar it would have bankrupted the animation company behind it's creation." but Pixar's entire schtick is centered around how well they can make a world, and how emotional the story can get. But with these new people I have no hope in them. With this set up you can get some ok moments, like water boy and fire girl falling in love but realizing they can't be together by the end of the movie, but I have no doubt that they won't do anything of value with the potential the idea has.

>>26161 UP is shit, anon. Only the first 20 minutes are worth watching.

>>26165 Fine, Wall E, Ratatouie, whatever, none of this matters.

>>26128 Industry faggots are largely never creative with their follow the leader bullshit, so my money's on reason #3. With the current corporate climate (aided by witch hunts from leftist HR), it's impossible to say "no" to anyone who is non-white and making a story about "culture" without being crucified as a racist and permanently blacklisted from the industry.

Pixar was always shit

>>26128 People who comment on media in the consuming class are critical of everything if it depicts real groups and execs are terrified of criticism from liberals and their ilk. All that's left is "authentic" stories from "authentic" people, which is defined as being immigrants from urban centers, which are devoid of any genuine culture that people have to worry about the depiction of.