So basically Frosty's saying that Camus plays combining properties of special techniques so they complement each other and uses that against the other player? Like Ryoma did against sanada?
So basically Frosty's saying that Camus plays combining properties of special techniques so they complement each other and uses that against the other player? Like Ryoma did against sanada?
Seems like a good theory, but I also think that there will be something else. If it's something completely new, I don't know what to expect from Konomi tbh.
So, now that we've established a reference, anyone got an idea what it might actually mean for the story, if anything? My best guess right now is that, since King Louis XVI was executed during the French revolution, France might end up defeating Germany in the main tournament. If it happens, it'll probably be in the semis. It could also refer to Duke since that French newspaper Byoudouin was reading in the flashback called him King of Destruction, but that seems a bit small-scale in my eyes? Anyone got other ideas?
So, now that we've established a reference, anyone got an idea what it might actually mean for the story, if anything? My best guess right now is that, since King Louis XVI was executed during the French revolution, France might end up defeating Germany in the main tournament. If it happens, it'll probably be in the semis. It could also refer to Duke since that French newspaper Byoudouin was reading in the flashback called him King of Destruction, but that seems a bit small-scale in my eyes? Anyone got other ideas?
Basically, the French revolution made fall a regímen on which the rich class (or of the king) had much more privilege on the elite. The facts that fulfilled the glass in this epoch it was for the increase (and escacez) of the bread, the well versed high places and the great cold in the French climate. Added to nothing of participacón of the French people and the tax deficit. With the capture of the hem and, the detention of the kings (Luis XVI and Maria antonieta) falls the monarchy to give step to the French Republic, and an the area of the laws signs the rights and duties of the man and of the citizen putting in equality the French village.
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I think, as a result of the explanation that Camus brought a new style of play to France and the French team, there is no doubt about that. The issue is that, we do not know what the French team was like when Duke was a representative, since Duke was the central figure of the team. We will have to see how with the absence of Duke, how Camus did to fill "that gap" and revolutionize with his style so that the French team come alive, again.
I'm no expert on improvisational theater by any means, but the Wikipedia article includes the following:
"Improvisational theatre, often called improvisation or improv, is the form of theatre, often comedy, in which most or all of what is performed is unplanned or unscripted: created spontaneously by the performers. In its purest form, the dialogue, action, story, and characters are created collaboratively by the players as the improvisation unfolds in present time, without use of an already prepared, written script.
. . .
In order for an improvised scene to be successful, the improvisers involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. With each spoken word or action in the scene, an improviser makes an offer, meaning that he or she defines some element of the reality of the scene. This might include giving another character a name, identifying a relationship, location, or using mime to define the physical environment. These activities are also known as endowment. It is the responsibility of the other improvisers to accept the offers that their fellow performers make; to not do so is known as blocking, negation, or denial, which usually prevents the scene from developing. Some performers may deliberately block (or otherwise break out of character) for comedic effect—this is known as gagging—but this generally prevents the scene from advancing and is frowned upon by many improvisers. Accepting an offer is usually accompanied by adding a new offer, often building on the earlier one; this is a process improvisers refer to as "Yes, And..." and is considered the cornerstone of improvisational technique."
In my eyes, the profile quotes may suggest that improvisational theater isn't just Camus' special skill outside of the court, but part of his play style as well. Of course this begs the question what improvisational tennis would look like. Incidentally, I think it is possible to construct a style on the basis of this "Yes, And..." technique mentioned in the article. If the basic premise in improvisational theater is to accept your co-actor's performance and expand on it with your own, then the basic premise of improvisational tennis would be to accept your opponent's play style and expand on it with your own.
To a significant extent this means allowing the opponent to play to their strengths. Doing so is not really a standard strategy - as Tanegashima explained in the lead-up to the France matches and Tristan attempted to demonstrate in D2, you normally want to make the match about the area with the greatest positive mismatch between you and your opponent, or beat down their biggest strength decisively like the head-on players and technical counter punchers do. Improvisational tennis differs from these approaches in that it allows the opponent to fully unfold and express themselves on the court. Once the opponent has gotten to do that, Camus aims to score with, well, a creative improvisation.
To illustrate this a bit more, let's look at Tristan's strategy to seal Shiraishi's power shots. Since power players like to have time to "wind up" for their shots, Tristan's approach was to take away time by hitting the ball as far away from Shiraishi as possible. If we extrapolate from that and add speed to the mix, we could create a triangle where technique beats power, speed beats technique, and power beats speed. That's a bit oversimplified, but it gives a general idea of how a standard player may approach different opponents.
Applying this triangle to improvisational tennis, you would essentially have the opposite reactions. Taking a power player opponent as an example again, rather than taking time away from them, you would more or less let them hit with all the power they have. You wouldn't suppress it with your own power either. Instead, you would use your speed to track down all these power shots.
By now you may be wondering how the voice of tennis fits into this whole thing - after all that's Camus' special ability. And at a basic level, the answer is that it does not. However, this makes a lot of sense with the ideas I've proposed throughout this thread and elsewhere, that in order for Camus to change how tennis is played on a global scale, his style must be something anyone can do. Improvisational tennis certainly fits that bill since it only relies on the player's instincts and basic abilities, and it is not limited to one response to the same offer.
However, this does not mean that the voice of tennis does not support this style. The conversation between Duke and Camus makes it sound like a predictive ability of some sort and being able to read the flow of the point and the match naturally allows you select good responses as well, which would likely make Camus the most proficient user of this style.
I think it's the "creative" part that are interesting. Data player or Mizuki player is kind of nice, but they're there before and in Mitsuya have been playing for a long time. I wonder how creative the guy have to be to change the way that tennis is played worldwide.
In my eyes, the profile quotes may suggest that improvisational theater isn't just Camus' special skill outside of the court, but part of his play style as well.
The little we actually learn about Camus' style betrays the premise of his introduction. The way he's described in these chapters, his style is something no one else can emulate. This doesn't go particularly well with the idea that the way he plays will change how tennis is played all over the world, simply because most others won't be as gifted as him. At least his basic play style without the aura should've been something others can use too.
Well, now we have seen (more or less) Camus style and from my perspective the whole "change how tennis will be played" looks more like simply improvise more, instead of thinking the best course of action (like Volk for example), so break the pattern, be unpredictable, take for example the D2 Japan vs France, how the positioning and dominating hand were highlighted (this can be counted as a pattern, it's something that matters in how tennis is played), Camus style could make people don't worry about that sorta thing and find another ways, I dont know if I'm being able to explain my point really well let's try to make possibilities of the meanings that I tought
Improvise more, don't follow patterns (it seems Camus was just hitting the ball to the other side in any way he wanted);
Make the game looks more "entertaining" for the eyes (since the people were saying it looked original and beautiful, like a dance in a drama)
But in the end we still don't really have an final answer on this and probably never will
I don't know why but I really like reading these discussions from years ago (the theories right or wrong) from an "already know the answer" position.
Someone was in the right way 5 years ago, dismissing the data player theory
I guess this is it ?
Well, now we have seen (more or less) Camus style and from my perspective the whole "change how tennis will be played" looks more like simply improvise more, instead of thinking the best course of action (like Volk for example), so break the pattern, be unpredictable, take for example the D2 Japan vs France, how the positioning and dominating hand were highlighted (this can be counted as a pattern, it's something that matters in how tennis is played), Camus style could make people don't worry about that sorta thing and find another ways, I dont know if I'm being able to explain my point really well let's try to make possibilities of the meanings that I tought
Improvise more, don't follow patterns (it seems Camus was just hitting the ball to the other side in any way he wanted);
Make the game looks more "entertaining" for the eyes (since the people were saying it looked original and beautiful, like a dance in a drama)
But in the end we still don't really have an final answer on this and probably never will
I was thinking about this some more today and actually came across another possibility. In Konomi Takeshi's Flawless Life Advice (yes, that is a real book), there's a section by Camus which reads as follows:
"It’s normal for me, that if you want to be loved, you should dedicate your body and love towards others, no matter the kind of relationship you have with them, whether they’re strangers or your superiors in a corporate setting, or with a lover."
Going by this, Camus loving tennis would mean he's completely dedicated to it. I guess dedication in the context of a sport would mean practicing it at essentially all times. Usually that's restricted to matches or the practice court, but Camus goes way beyond that, like touring the world and seeing sights together with his racket and more or less being together with it at all times in general.
This, in turn, makes me think of a way of practicing that's not really a thing in Prince of Tennis, but that you can find in series dealing with other sports, like soccer or basketball. There, the players also carry around their balls and do stuff like dribbling in everyday life.
Maybe the idea with Camus is similar. By handling his racket at practically all times, he's become so familiar with it that he can use it in unprecedented ways. And if that's the case, then of course it's a skill that others can theoretically achieve just as well, as long as they treat tennis the same way Camus does.
I was thinking about this some more today and actually came across another possibility. In Konomi Takeshi's Flawless Life Advice (yes, that is a real book), there's a section by Camus which reads as follows:
"It’s normal for me, that if you want to be loved, you should dedicate your body and love towards others, no matter the kind of relationship you have with them, whether they’re strangers or your superiors in a corporate setting, or with a lover."
Going by this, Camus loving tennis would mean he's completely dedicated to it. I guess dedication in the context of a sport would mean practicing it at essentially all times. Usually that's restricted to matches or the practice court, but Camus goes way beyond that, like touring the world and seeing sights together with his racket and more or less being together with it at all times in general.
This, in turn, makes me think of a way of practicing that's not really a thing in Prince of Tennis, but that you can find in series dealing with other sports, like soccer or basketball. There, the players also carry around their balls and do stuff like dribbling in everyday life.
Maybe the idea with Camus is similar. By handling his racket at practically all times, he's become so familiar with it that he can use it in unprecedented ways. And if that's the case, then of course it's a skill that others can theoretically achieve just as well, as long as they treat tennis the same way Camus does.
Well, the purpose of the illusions is to show players that can't be there themselves at the time, so it's something we might have to gloss over.
But, as an attempted explanation, maybe for the physical parts Niou can only copy what he has actually seen Camus do before, whereas Camus himself is able to come up with new variations naturally. Maybe that's also why Niou had to play against Camus prior to copying him, something he didn't need to do for at least Tezuka, Zeus and Noah.
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