Hazuki x Masaru is a thing. Even Doremi is jealous of them.
Aiko and Nobu-chan are on the same class...the first problem the ojamajos resolve, is a "fight" between Nobu-chan and Miho-chan.
This week's episode wasn't half bad! Probably Stockholm Syndrome talking about, but the first half was kinda funny, and the second half was filled with effects and action. The pacing seemed faster than usual too. Anyway I'll let pictures do the talking.
School trip everybody? When was the last time one of these happened again? For some reason, I was thinking of Smile Precure for a bit, even though that's not the answer.
Hana's test of leadership is here! And she wasn't doing too well, but she did her best! And got sick while making name tags for her group. Reika used the power of assholery, and it backfired! And she's fever bent!
Oh hay that one dude that Momoko kissed is on the group. Not sure if want. And how fitting considering Masaru and Hasabe are on the same group... as always.
Armored Hunter Mellowlink 03
Still rocking my socks. Shit's so gooooooooooooooooood
I am still kinda feeling a disconnect between Mellolink's moe and the fact he's death incarnate though.
At least with Chirico everything made sense in that regard!
Hey! Ep 00 makes sense now! Kind of! So this series is moving forward on entirely new material now, right? Sweet.
The parents return next time! But... something bad is going to happen if they stay or... something. Also Myou Jr. is immortal. Explains why he wants to die, at least.
Oh man. I'll still argue the best ongoing skits of Daily Life were definitely those of poetry and the girl. I loved the one he starts screaming NOOOOOOOOOOOOO in his head while having the coolest face haha.
First season was pretty fun, though, helped along by a really good cast and a batshit crazy setting. I think it just went stale in the second season, honestly, since obviously that's all the same.
I politely and honnestly disagree.
horizon S2 is crazy but awesome.
I don't know how it can get stale when they
-changed locations
-gave us more fights
-gave us one big giant armada fight
-actually moved the relationship of SEVERAL characters forward
-had much less talking than S1
I'm glad the filler only lasted two episodes. Nicely paced save for one part where
Izumi puts Kazuhito to sleep, and suddenly he's in the shop despite looking like he was left on the train. How did they find him? When? Who cares, we've got to get to the fights!
. Other than that little hiccup I really enjoyed it. :3
I politely and honnestly disagree.
horizon S2 is crazy but awesome.
I don't know how it can get stale when they
-changed locations
-gave us more fights
-gave us one big giant armada fight
-actually moved the relationship of SEVERAL characters forward
-had much less talking than S1
Plus it had Yukari Tamura in addition to the already superb voice cast (including my goddess as best girl). It was one of the few things I actually enjoyed about the show!
Besides the obvious Hidenori as Gintoki (Sugita) in front, we've also got the President as Katsura (Akira Ishida) and Yoshitake as Okita (Kenichi Suzumura).
Trinet Entertainment, whose works I've seen plenty of interest me. It doesn't help that their website stopped working a long time ago, meaning I have to rely on the Wayback Machine. But the whole curio factor draws me to their shows. This is the second show under them that does something interesting with a formula.
To date, Tsuyokiss ~Cool x Sweet~ is the only visual novel anime adaptation I know of that focuses on one of the possible love interests as the protagonist and viewpoint character, instead of the guy. Happy Seven did the exact same thing. In the original light novels, Kikunosuke was the protagonist, and traces of that are still present here. But by putting the focus onto Amano, the whole thing becomes some sort of mix between a traditional magical girl series and a regular love comedy.
And "magical girl" series is probably the best way to describe it. The tone and structure are fairly similar to Rakugo Tennyo Oyui (which I consider one of the "rare three", along with this and Koi Koi 7. I really should rewatch KK7 now that it's legally subbed. If I ever clear through this backlog.) If I had to pinpoint any issue I have with it, it's that the show has a lot of characters for its runtime. This isn't impossible (OreTsuba pulled it off well enough), but the characters are very broadly defined, and the villains aren't delved into very deeply, though Kokuanten does get something of a subplot.
The opening moments in feudal Japan took me off guard at first, but did at least set up what happened at the end. The whole
it was an alien doomsday device that went out of control
development felt a little out of place in what was otherwise a series firmly grounded in mythology, but it's not going to tarnish my opinion of it. The girls got enough focus as people outside of their love of Kikunosuke, though the series definitely pushed the romance elements pretty strongly.
Mina and Nami's episode was one of the few that didn't, and things like trying to get Kaoru in episode 4 interested in "girly stuff" was a little outdated in terms of mentality, but the episode did push the "be yourself" thing in the end. Episode 9 went full on for the tears, and it mostly worked. A good enough ending song can have that kind of effect.
The Lucky Station segments were cute, and the one time Amano, Mimi and Nene transformed into magical girls was surprising. Checking things on Wiki, they got the details and powers related to the deities mostly right. Plus that thing with the guitar and the hammer combining into a giant cannon was pretty, awesome. I like that they animated individual stock transforms for everyone, too. The plots were fairly typical "solving other peoples' problems" magical girl type stuff, but, I enjoy those kinds of things. I watch Precure every week, after all.
The opening was catchy. So many Trinet shows have Little Non in them. I was surprised to hear they broke up. The ED and its full Englishness wasn't bad, and was at least catchy.
Final Thoughts: Now that I've finally seen it, I can say that while it's not a particularly stand out anime (the way it uses the gods is at least clever), I can appreciate how it combines the feel of a magical series aimed at girls with the remnants of a traditional romcom to produce something that's not quite either of them. It's a weakness and a strength. The
aliens came to Earth
thing is a bit of out of left field, though. But I continue to say that Trinet's work holds a certain curiosity value for me, so I'm still glad I saw it.
CLASS TRIP CLASS TRIP! LOVE PAIRINGS IN THE AIR! FIGHTING OVER MISORA'S WOMEN AGAINST THE
FLAT 4
3 YEARS OF MISFORTUNE
Which is probably why Doremi will be single until 16 lololololol
Although the usual suspect Masaru does his thing, what changes up is Kotake, who... was still a bit of a dork, but the moment competition arrives, he's singing a completely different tune.
Seems like everyone's niche is coming in, something to doom them or whatever (or not). I do like how Reika just flat out kidnaps Momoko though.
Okay, so I think we may have been over this question before, but as a refresher: can we discuss the details and differences between the main director and person in charge of overall "series composition" for a show, and the individual episode directors and scriptwriters, and how their responsibilities differ?
Okay, so I think we may have been over this question before, but as a refresher: can we discuss the details and differences between the main director and person in charge of overall "series composition" for a show, and the individual episode directors and scriptwriters, and how their responsibilities differ?
Complete series on 2 DVD and 2 BD in a BD Elite Amaray case
Comes in a chipboard box with iridescent foil covering. It gives the box a nice blue/green shimmer effect under the background art and is really striking.
80 page full color art booklet (perfect bound)
Participating specialty retailers will also include, while supplies last, a K vinyl decal set of the HOMURA logo, the SCEPTER4 logo and a Neko face. These are not standard stickers, rather they are made of a nice, sturdy, durable vinyl. Bonus- you'll be able to fit them in the Amaray in the box if you don't want to stick them on things. (Check your favorite retailer to see if they offer this)
Extras: Clean Opengins & Endings, English Cast Interview, VIZ Presents an Interview with KANAME☆, KANAME☆ as Fushimi Photo Gallery, K Events - U.S. Convention Highlights, Next Episode Previews, Trailers and More!
DVD | MSRP: $44.82
Standard DVD only set also available. This is just the 2 DVDs in a standard black Amaray.
Okay, so I think we may have been over this question before, but as a refresher: can we discuss the details and differences between the main director and person in charge of overall "series composition" for a show, and the individual episode directors and scriptwriters, and how their responsibilities differ?
I feel I'm going to get ninja'd, but the main director of a series generally will be more involved with story/creative decisions, be it the direction of where the story will go on an original show, or how to tweak a source for the purpose of an adaptation. Same for the series composer, who'll lay down the structure and general pace of the writing as well as any major story affairs, without necessarily doing the actual scripts (dialogue/notes) himself.
Episode directors (and storyboarders for each episode) handle the technical direction of their own episode. They might arrange some of the staff for the episode, handle the distribution of the animators and other staff, as well as the specific script for that episode. Camera angles, editing and the like are decided in the storyboard, and the technical/management aspects as well as any modification to the storyboard are in charge of the episode director. Of course, the series director still has the final call and the level of supervision will depend on each production. For example, a show like Kemonozume or Samurai Champloo will give more freedom to individual directors/writers to do what they want in their episodes, while other shows are more uptight with supervision and will feel as if they have more unity (be it due to a particular director, or the nature of the show i.e. episodic series are easier to be lax in).
The series director will storyboard/direct a couple of episodes of their own show, usually, and some go to the length of storyboarding as much as they can (Kou Matsuo in Valvrave, Mamoru Hatakeyama in Rozen Maiden or Masayuki Yoshihara in Uchoten Kazoku are recent examples where the series director storyboards a lot of episodes). This is important because the actual 'directing' of an episode is on most cases more dependant on the storyboard than the episode director assigned to process that storyboard. The storyboarder lays down most of the important elements in a given film, from the rough (and at times not so rough) staging to the rhythm and form of the editing, music/dialogue placement, and anything you can imagine. Different individuals have different approaches, of course, but that's more or less a general overview.
I feel I'm going to get ninja'd, but the main director of a series generally will be more involved with story/creative decisions, be it the direction of where the story will go on an original show, or how to tweak a source for the purpose of an adaptation. Same for the series composer, who'll lay down the structure and general pace of the writing as well as any major story affairs, without necessarily doing the actual scripts (dialogue/notes) himself.
Episode directors (and storyboarders for each episode) handle the technical direction of their own episode. They might arrange some of the staff for the episode, handle the distribution of the animators and other staff, as well as the specific script for that episode. Camera angles, editing and the like are decided in the storyboard, and the technical/management aspects as well as any modification to the storyboard are in charge of the episode director. Of course, the series director still has the final call and the level of supervision will depend on each production. For example, a show like Kemonozume or Samurai Champloo will give more freedom to individual directors/writers to do what they want in their episodes, while other shows are more uptight with supervision and will feel as if they have more unity (be it due to a particular director, or the nature of the show i.e. episodic series are easier to be lax in).
The series director will storyboard/direct a couple of episodes of their own show, usually, and some go to the length of storyboarding as much as they can (Kou Matsuo in Valvrave, Mamoru Hatakeyama in Rozen Maiden or Masayuki Yoshihara in Uchoten Kazoku are recent examples where the series director storyboards a lot of episodes). This is important because the actual 'directing' of an episode is on most cases more dependant on the storyboard than the episode director assigned to process that storyboard. The storyboarder lays down most of the important elements in a given film, from the rough (and at times not so rough) staging to the rhythm and form of the editing, music/dialogue placement, and anything you can imagine. Different individuals have different approaches, of course, but that's more or less a general overview.
