So.. Long time no hear from me. Hey, I’m a growing college boy with a lot of work, class and lab related, on his hands. I had a post in the works to sum up how I thought about the big scary “R” word (recession), but Bernanke dropped the rate three-quarters, so it appears crisis averted for now.
Anyway, to the topic. I think everyone who wanted to has probably seen Clannad 16 by now, and if not, well, then you can stop reading here, but I’m not spoiling much, if at all, so you might be ok.
I liked the basketball part of the episode. Sure it didn’t really provide much in terms of actual story development, but it was fun and a pretty good change of pace to come out of the Kotomi arc. Watching Kyou make it rain 3-pointers and Tomoya manage the game was pretty sweet. And the game winner.. my goodness. The contact, the miracle heave from his back before he hits the ground, the kiss off the backboard, that “shooter’s bounce” off the front of the rim, and the swish as time expired… classic. You can’t find stuff like that in real life.
But playing through it a second time, I came upon one sequence that confused me. It’s the first play once the starters jump in. The guard (#4) crosses-over, spins left, and then spins left again, finishing with a jump hook. To help those basketball uninitiated understand what I’m getting at, I drew a couple of diagrams up to explain what I mean.
This is the original position with the first move taking place. #4 is the O out at the top of the three point line (the rightmost O). Tomoya’s the closest X, then Sunohara, then Kyou. The first move that #4 makes is a cross-over, getting Tomoya to break to his right, while passing him on his left. Sunohara steps up to “hedge”, as it’s called on most American basketball telecasts; attempting to slow #4 to allow Tomoya to get back into the play. Kyou is also starting to motion towards helping out inside, while her man clears out of the way.
Now instead of #4 making his spin, the man that Sunohara was previously defending could leak to the corner, setting himself up for a wide-open pass and shoot for 3.
Or.. Sunohara’s man could cut to the middle (1). Receive the pass, and go to the hole. Kyou is then forced to cover him. Kyou’s man could then cut in himself (2). He has a clean look at the basket, since Kyou has to commit to the first cut.
Instead, #4 spins left, toward the center of the basket. Kyou forced to hedge, and Tomoya is still trying to get back in the play.
This is what it would look like as he approaches Kyou.
At this point, Kyou’s man is still the free roamer. He can cut (3a), or fade (3b) and receive a pass. Tomoya will not be able to cover either option.
Instead, he spins, to the left, again. Then proceeds to put up a jump hook to finish the play. But he’s already beaten all three players on this possession. Why jump hook? Isn’t a lay-up enough? Kyou laid up earlier in the sequence, so it’s not a foreign concept. He intentionally takes a tougher shot. Why? Perhaps Japan still has an allure to the jump hook as it had been back in the 80s in the USA, and as a result Kyo-Ani can use the jump hook to show Japanese viewers the kind of skill the starters possess. But, more importantly, look at where #4 would be after the second spin. He would be facing the rim on the left side of the court, right?
That’s not what this image says. He’s taking the hook shot from the right side. Now I’ve looked at the opening position again and again to make sure I didn’t mess up egregiously, but it doesn’t appear to be possible to spin to the left twice from that starting position and still be facing the right side of the rim? Does it? Just something I thought I’d throw out there. Give it a look for yourself, and tell me what you think.