Be warned Lupin the 3rd is not really a series gear towards marathon viewing, tried that last year and got burnout before finishing series 2 or 3.
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Summer 2013 Anime |OT3| only manly sports allowed
- Thread starter FelixOrion
- Start date
- Status
Be warned Lupin the 3rd is not really a series gear towards marathon viewing, tried that last year and got burnout before finishing series 2 or 3.
I'll probably wait to watch it anyway. I'm starting some new shows today to see if I can't refresh myself while I try and finish wading through Victory Gundam.
JordanN
Banned
Best news all day.
hipbabboom
Huh? What did I say? Did I screw up again? :(
LOL
Kirino Mosaic Episode 12 has the earliest ending card I've ever seen
They may have as well started the episode with the end credits.
Kirino Mosaic Episode 12 has the earliest ending card I've ever seen
They may have as well started the episode with the end credits.
R_thanatos
Member
Majestic prince - 15
When you're a Hero , you don't need armor !
Superb fights as usual .
When you're a Hero , you don't need armor !
Superb fights as usual .
hipbabboom
Huh? What did I say? Did I screw up again? :(
It's like one of my top 10 but I can totally see why people might not be able to slow down enough to appreciate the fine bold flavors of such a heart-warming series. Every time I think about this series, I become a little sad that I won't be able to experience the series "for the first time" ever again. It is indeed an excellent series
Victory Gundam 26
Man that Cronicle Asher is such a nice, badass guy. Killing defenseless women and punching little boys in handcuffs. Such an upstanding villain who is definitely competent and capable of getting things done without handicaps.
And that queen Maria, so nice. She waits until Cronicle has killed someone senselessly before asking him to stand down. And she's all "I wish to stop the guillotine's use, too!" You're the FUCKING QUEEN OF THE ZANSCARE. If you can't stop its use, when you want to, then what in the fuck DO you do?
And Katejina, what a great spy she is, fucking Cronicle all the time and doing work for the Zanscare and not actually ever reporting to the League Militaire and out and out obstructing Uso's attempted escape.
What a cast of genuine, not shitty characters.
LOLOLO Maria has magical healing powers and Katejina is now an ace MS pilot. Fuck this show is so bad.
Man that Cronicle Asher is such a nice, badass guy. Killing defenseless women and punching little boys in handcuffs. Such an upstanding villain who is definitely competent and capable of getting things done without handicaps.
And that queen Maria, so nice. She waits until Cronicle has killed someone senselessly before asking him to stand down. And she's all "I wish to stop the guillotine's use, too!" You're the FUCKING QUEEN OF THE ZANSCARE. If you can't stop its use, when you want to, then what in the fuck DO you do?
And Katejina, what a great spy she is, fucking Cronicle all the time and doing work for the Zanscare and not actually ever reporting to the League Militaire and out and out obstructing Uso's attempted escape.
What a cast of genuine, not shitty characters.
LOLOLO Maria has magical healing powers and Katejina is now an ace MS pilot. Fuck this show is so bad.
dakkumauji
Member
Neptunia 11
NEVER MIND, firehawk, you are even more stuck watching this show now!
NEVER MIND, firehawk, you are even more stuck watching this show now!
Save 'N Quit
Banned
3 my ass! You'll always be No. 1
Highschool DxD New 10
First half provided some nice insight into Akeno's backstory.
Looking forward to knowing more when I finally start reading the LN after the last episode.
It's like one of my top 10 but I can totally see why people might not be able to slow down enough to appreciate the fine bold flavors of such a heart-warming series. Every time I think about this series, I become a little sad that I won't be able to experience the series "for the first time" ever again. It is indeed an excellent series
K-On! is right up there along side Watamote and Eureka Seven on the Popular Things that People Tell me Are Good but I Will Never See As Good list.
Theonik
Member
Kiniro Mosaic 12 Fin
Shino's story is probably the best note tehy could have ended it on though. Kinda reminded me of the final Yuru Yuri episode.
The conclusion of the :SDBurtoness was pretty expected too though still kinda disappointing. Not in terms of lacking :SDBurton but in terms of Ayaya's love not panning out though again that wasn't going to happen.
I'm kinda sad this is over now. Was a pretty fin show.
Fucking Kirito invading my Kiniro Mosaic.
Shino's story is probably the best note tehy could have ended it on though. Kinda reminded me of the final Yuru Yuri episode.
The conclusion of the :SDBurtoness was pretty expected too though still kinda disappointing. Not in terms of lacking :SDBurton but in terms of Ayaya's love not panning out though again that wasn't going to happen.
R_thanatos
Member
The fact that she willingly pick the 3rd number is what makes her so good.
Join us in the club of those who have read the LNs , you won't be disapointed.... I DARE you to be disapointed.
---------
Majestic prince - 16
This episode didn't have a fight
It's not a bad show, although not great either. The most unique aspect of SO is that it falls much closer to the hard end of the sci-fi scale than most series, and as a result it has much more realistic space battles than is typical. There is "sound in space" but they justify that by adding it in-universe as part of the reality TV setup.
I love the little hairclip designs these kinds of shows seem to have more and more. Really cute!
It's like one of my top 10 but I can totally see why people might not be able to slow down enough to appreciate the fine bold flavors of such a heart-warming series. Every time I think about this series, I become a little sad that I won't be able to experience the series "for the first time" ever again. It is indeed an excellent series
Well there's a reason for a k-on community thread. Plenty support in there!
Probably the best it's been since the first episode.
Gen'ei wo Kakeru Taiyou 12
lol
Meanwhile Cerebrem's goal is to
. Because why the hell not.
lol
so death is pretty cheap in this show huh. Considering the way Ginka "died" I was expecting her to come back at some point, but it felt a little odd to have her just turn up and not even give any explanation ~.~
Meanwhile Cerebrem's goal is to
break Akari's mind and then have kinky demon sex with her
hipbabboom
Huh? What did I say? Did I screw up again? :(
No worries. I was just sharing how I felt about it. It certainly ranks, for me, higher than the other series you listed (though I like those as well). The slice-of-life genre is the anthysises to what a strong narrative experience is but I find them so powerful because it has the power, if good, to slow down the viewers expectation and get you in a mood that is just sublime.
It's also a genre that the slow but lovable female character can thrive, the hyper athletic idiot girl can brighten, the nurturing and ambivalent older sister type can play the leading back-drop character and the often shy and over dependent sweet girl never wants for love. There's so many strong ingredients that are simmered to perfection in the shows because they take their time that they always seem to leave a lasting impression on me. I wish more of them were as popular as K-On but I'm just happy that they exist.
If you don't mind me asking, how do feel about the Hidamari Sketch series?
hosannainexcelsis
Member
Code:Breaker 1 - Theatrical Melodrama
There are two basic kinds of melodrama. First, there is the kind which relies on contrived tragic events and irrational character behavior to create conflict and attempt to wring tears out of the audience. Key visual novel adaptations such as Air and Clannad are quintessential examples of this, and you can see similar techniques being used by shows such as Ano Hana and Kids on the Slope. This kind of melodrama works for a lot of people, but it tends to break down upon the slightest examination, as it reduces the characters to shallow pawns to be abused by the writer. The work badly wants you to take it seriously, but its artifice is too visible for the plights of the characters to be believable, and so prevents them from having a genuine emotional impact.
The second kind of melodrama takes the disconnect between the self-seriousness of the characters and the absurdity of their actions evident in the first and plays it to the hilt. By doing so, a funny thing happens: the disconnect vanishes. The work moves away from the realm of real life and into the realm of the theatrical, a realm ruled by raw emotion alone. Thus questions about the logical reasoning behind what's going on no longer matter the emotional logic carries the day and pulls the audience into believing in the world that has been set up. Osamu Dezaki, in works such as Aim for the Ace and Brother, Dear Brother, was the master at this kind of melodrama.
Code:Breaker uses melodrama in a manner similar to the second kind, but taken in a more overtly comedic direction. Instead of using raw emotional power to keep the viewer from being distracted by silliness, it plays up the silliness, emphasizing the aforementioned disconnect to the point of outrageously funny cheese, self-aware even while keeping an absolute poker face. Theatrical gestures and exaggerated presentation fill the first episode, helping it to nail a consistent tone.
The core of the cheese is Sakura Sakurakouji, our protagonist, whose very name with its repetition speaks of inflated self-importance. Sakura, cherry blossom, conjures up the image of a traditional, refined Japanese lady, and while the Sakura of this series, a skilled martial artist, can't exactly be called that, she is similar in one key respect: she lives in a completely different world from everyone else around her. Her obliviousness to what others think of her is incredible. When she becomes obsessed with the new transfer student Ogami due to her suspicion that he was burning people, it never registers with her that it appears to her classmates that she is infatuated with him, even when her friend asks her point-blank about it. She has a naïve sense of justice, proclaiming to a violent gang that she has called 110 (the Japanese equivalent of 911) and brandishing her phone as if it were a bright charm that could make the gang cower in fear. Yoko Hikasa gives Sakura a voice which resides mostly in the low register and is deliberate in articulation and elevated in timbre to the point of gruffness. She seems like she would be more at home in a samurai film than the contemporary Japanese setting in which she is situated. Her extreme earnestness and lack of any self-awareness or common sense defines the show's tone and provides the fulcrum for its comedy.
Now Sakura is far from the only outrageous character even the anonymous students are outrageous in their own way. The scene where the student body freaks out after Sakura asks Ogami for a private chat is the height of hilarity, and contains quite a few of the techniques Code:Breaker relies on to establish its melodramatic tone. The most obvious is Takayuki Hattori's grand orchestral soundtrack. As soon as the students react, the entire orchestra comes bombastically booming in with skittering strings, blaring brass, and crashing cymbals. It is music that could accompany a fight scene in an opera, which makes its use in high school (fake) romantic drama absurdly overblown. Which is absolutely fitting for the absurdly overblown reaction of the students.
Here, as one student announces the impending private chat to another, they lean down towards each other and hold their hands out in front of them with tensely contorted claws, their fingers tightly curled. These are not poses normal people make in the course of everyday life; these are poses made on the stage, when an actor wants to paint an emotion, in this case shock and frustration, in large, broad strokes so that it will reach to the back of the audience. Taking a body language cue and blowing it up until there can be no possible ambiguity as to what it represents even to the causal observer that is the essence of the theatrical gesture, which is a key competent of successful melodrama.
In fact, when Sakura and Ogami's conversation takes place, it is in a setting that is very much like a stage, a large, open space bounded by the students clustering against the windowed walls. The two face each other from a considerable distance apart. You can see the artificiality and contrivance in the physical positioning of the scene. Even though the camera is dynamic in its angles and distances, you can feel a sense of stage blocking underlining the movements of the characters.
One technique Code:Breaker uses which is specific to animation, one which Osamu Dezaki in particular is well known for, is the use of dynamic stills. There is an excellent example immediately following this scene, when the male students are outraged that, as they think, Ogami has turned down Sakura. It is a richly shaded piece of art, in the tradition of so-called Dezaki postcards (though those are usually static whereas this pans), featuring dramatic faces of anger piled on top of each other. The detailed art style, with its multitude of lines, combined with the clamor of yelling voices, is ludicrous when juxtaposed against the misinterpretation of the situation that caused this reaction. To create even more dynamism, the vertical pan is not smooth but shakes around irregularly, and there are black speed lines overlaid on the edges. While I am normally not a fan of speed lines, as I normally find their attempt to create the illusion of motion lazy and unsuccessful, here it only adds to the cheesiness of the whole package. So do the camera zooms that occur several times during the episode, always accompanied by the sound of whooshing air, that mark a sudden revelation or shift in character.
One other moment which I particularly admire is when Ogami states his moral code to Sakura, and the sun comes out behind him with blinding beams. Light and shadow directly mirror his code; he is the bearer of the light of justice to evildoers, justice pure and bright, but his face itself is shrouded in dark shadow, as his methods of bringing justice are themselves evil. The visual metaphor drives home the idea of an anti-hero operating against black-and-white morality. This unsubtle image, as well as the rest of the techniques I've discussed, is part of the general pattern of theatrical melodrama that makes this episode so enjoyable to watch.
There are two basic kinds of melodrama. First, there is the kind which relies on contrived tragic events and irrational character behavior to create conflict and attempt to wring tears out of the audience. Key visual novel adaptations such as Air and Clannad are quintessential examples of this, and you can see similar techniques being used by shows such as Ano Hana and Kids on the Slope. This kind of melodrama works for a lot of people, but it tends to break down upon the slightest examination, as it reduces the characters to shallow pawns to be abused by the writer. The work badly wants you to take it seriously, but its artifice is too visible for the plights of the characters to be believable, and so prevents them from having a genuine emotional impact.
The second kind of melodrama takes the disconnect between the self-seriousness of the characters and the absurdity of their actions evident in the first and plays it to the hilt. By doing so, a funny thing happens: the disconnect vanishes. The work moves away from the realm of real life and into the realm of the theatrical, a realm ruled by raw emotion alone. Thus questions about the logical reasoning behind what's going on no longer matter the emotional logic carries the day and pulls the audience into believing in the world that has been set up. Osamu Dezaki, in works such as Aim for the Ace and Brother, Dear Brother, was the master at this kind of melodrama.
Code:Breaker uses melodrama in a manner similar to the second kind, but taken in a more overtly comedic direction. Instead of using raw emotional power to keep the viewer from being distracted by silliness, it plays up the silliness, emphasizing the aforementioned disconnect to the point of outrageously funny cheese, self-aware even while keeping an absolute poker face. Theatrical gestures and exaggerated presentation fill the first episode, helping it to nail a consistent tone.
The core of the cheese is Sakura Sakurakouji, our protagonist, whose very name with its repetition speaks of inflated self-importance. Sakura, cherry blossom, conjures up the image of a traditional, refined Japanese lady, and while the Sakura of this series, a skilled martial artist, can't exactly be called that, she is similar in one key respect: she lives in a completely different world from everyone else around her. Her obliviousness to what others think of her is incredible. When she becomes obsessed with the new transfer student Ogami due to her suspicion that he was burning people, it never registers with her that it appears to her classmates that she is infatuated with him, even when her friend asks her point-blank about it. She has a naïve sense of justice, proclaiming to a violent gang that she has called 110 (the Japanese equivalent of 911) and brandishing her phone as if it were a bright charm that could make the gang cower in fear. Yoko Hikasa gives Sakura a voice which resides mostly in the low register and is deliberate in articulation and elevated in timbre to the point of gruffness. She seems like she would be more at home in a samurai film than the contemporary Japanese setting in which she is situated. Her extreme earnestness and lack of any self-awareness or common sense defines the show's tone and provides the fulcrum for its comedy.
Now Sakura is far from the only outrageous character even the anonymous students are outrageous in their own way. The scene where the student body freaks out after Sakura asks Ogami for a private chat is the height of hilarity, and contains quite a few of the techniques Code:Breaker relies on to establish its melodramatic tone. The most obvious is Takayuki Hattori's grand orchestral soundtrack. As soon as the students react, the entire orchestra comes bombastically booming in with skittering strings, blaring brass, and crashing cymbals. It is music that could accompany a fight scene in an opera, which makes its use in high school (fake) romantic drama absurdly overblown. Which is absolutely fitting for the absurdly overblown reaction of the students.
Here, as one student announces the impending private chat to another, they lean down towards each other and hold their hands out in front of them with tensely contorted claws, their fingers tightly curled. These are not poses normal people make in the course of everyday life; these are poses made on the stage, when an actor wants to paint an emotion, in this case shock and frustration, in large, broad strokes so that it will reach to the back of the audience. Taking a body language cue and blowing it up until there can be no possible ambiguity as to what it represents even to the causal observer that is the essence of the theatrical gesture, which is a key competent of successful melodrama.
In fact, when Sakura and Ogami's conversation takes place, it is in a setting that is very much like a stage, a large, open space bounded by the students clustering against the windowed walls. The two face each other from a considerable distance apart. You can see the artificiality and contrivance in the physical positioning of the scene. Even though the camera is dynamic in its angles and distances, you can feel a sense of stage blocking underlining the movements of the characters.
One technique Code:Breaker uses which is specific to animation, one which Osamu Dezaki in particular is well known for, is the use of dynamic stills. There is an excellent example immediately following this scene, when the male students are outraged that, as they think, Ogami has turned down Sakura. It is a richly shaded piece of art, in the tradition of so-called Dezaki postcards (though those are usually static whereas this pans), featuring dramatic faces of anger piled on top of each other. The detailed art style, with its multitude of lines, combined with the clamor of yelling voices, is ludicrous when juxtaposed against the misinterpretation of the situation that caused this reaction. To create even more dynamism, the vertical pan is not smooth but shakes around irregularly, and there are black speed lines overlaid on the edges. While I am normally not a fan of speed lines, as I normally find their attempt to create the illusion of motion lazy and unsuccessful, here it only adds to the cheesiness of the whole package. So do the camera zooms that occur several times during the episode, always accompanied by the sound of whooshing air, that mark a sudden revelation or shift in character.
One other moment which I particularly admire is when Ogami states his moral code to Sakura, and the sun comes out behind him with blinding beams. Light and shadow directly mirror his code; he is the bearer of the light of justice to evildoers, justice pure and bright, but his face itself is shrouded in dark shadow, as his methods of bringing justice are themselves evil. The visual metaphor drives home the idea of an anti-hero operating against black-and-white morality. This unsubtle image, as well as the rest of the techniques I've discussed, is part of the general pattern of theatrical melodrama that makes this episode so enjoyable to watch.
yeh that bit where they complain about sound effects being added in to the battles by the tv company was pretty funny.
if anyone has any suggestions for realistic sci-fi series i'm all ears, i've seen Planetes and Moonlight Mile.
Never seen it so I have no idea.
Majestic Prince 21
Not bad, really. Been awhile since I watched, and the episode was kind of slow, but it is nice to see that to some extent, the characters have finally begun to develop independent from one another. The show still needs to step away from the "Golden Sun Dark Dawn the entire party reacts to everything at once" sequences, but otherwise, I feel like we're really starting to make something of this. Once you look past the fact that the plot is "DNADNADNA"
Not bad, really. Been awhile since I watched, and the episode was kind of slow, but it is nice to see that to some extent, the characters have finally begun to develop independent from one another. The show still needs to step away from the "Golden Sun Dark Dawn the entire party reacts to everything at once" sequences, but otherwise, I feel like we're really starting to make something of this. Once you look past the fact that the plot is "DNADNADNA"
Royal Space Force: The Wings of Honneamise is the obvious suggestion here.
Pale Cocoon, a short from Time of Eve director Yasuhiro Yoshiura, might also fit that definition.
Legend of The Galactic Heroes.
hosannainexcelsis
Member
Legend of the Galactic Heroes is a great series, but as sci-fi goes it's pretty much the opposite of "realistic", since it is heavily anachronistic culturally and militarily, and has little interest in exploring how technology might actually develop.
haven't seen Honneamise, that's just one film right? watched Pale Cocoon just the other week, loved it!
i've kind of been put off by the length of this before, perhaps it's time to man up
I would not go that far, you do raise some good points, and there are some very goofy moments, but actually this is pretty good with the hard sci-fi because it has to be good at it. Also, there is a good reason for it.
R_thanatos
Member
Majestic prince - 17
Sogood.gif
This episode had a great fight and a splendid sense of tension ...loved it
That's what i want from this anime.
Sogood.gif
This episode had a great fight and a splendid sense of tension ...loved it
That's what i want from this anime.
Joe Molotov
Member
Patlabor movies/OVAs are good.
Yes, it's a single film, although the long-abandoned sequel Blue Uru is supposedly in the planning stages again. Definitely one of the best, serious pieces of speculative fiction ever made as an anime.
It is kind of long, though by anime standards it would be a decent midsized shoenen program length weigh in at 110 episodes. The difference is shit happens in every single episode.
hosannainexcelsis
Member
Legend of the Galactic Heroes is in large measure realistic when it comes to its examination of human nature, society, and politics, but it is not hard sci-fi. Nothing with 2D space battles can be considered true hard sci-fi.
FelixOrion
Poet Centuriate
Another 8
Somehow I have this feeling that, even though they're outside of Yomiyama,
Called it. That's fucked up. And I'm not talking about the water CGI.
Somehow I have this feeling that, even though they're outside of Yomiyama,
the Calamity is still gonna get them here.
When they put the dude in the sand and walked away from him by the ocean for a little gag I totally thought that they were just gonna leave him and he'd drown. This show makes you even think the next stupid death could really be anything.
When they put the dude in the sand and walked away from him by the ocean for a little gag I totally thought that they were just gonna leave him and he'd drown. This show makes you even think the next stupid death could really be anything.
Called it. That's fucked up. And I'm not talking about the water CGI.
Whether or not it's realistic I can't say, but don't let the length of LoGH scare you. The pacing is absolutely fantastic, especially from Season 2 onwards. You're gonna be glad you still have so many left!
Majestic Prince - 24
Luckily MJP is contend with just one season, which is about all I can stomach from this universe.
This show had some good elements (the soundtrack, half its cast, Sawashiro) but was downright terrible in others (flimsy plot, boring battles, ugly mecha's without soul). As such I give it a 5/10.
Majestic Prince - 24
Luckily MJP is contend with just one season, which is about all I can stomach from this universe.
I really fucking hate open endings, goddammit, is he dead or not? Don't make me look this shit up.
This show had some good elements (the soundtrack, half its cast, Sawashiro) but was downright terrible in others (flimsy plot, boring battles, ugly mecha's without soul). As such I give it a 5/10.
firehawk12
Subete no aware
I guess it's supposed to be an omake. Heck, the ending of the second story makes it clear that it takes place before the events of the first story.
---
Speaking of Kiniro Mosaic, it was a fun series, and probably among the better of the 4-5 girl shows that we've seen in the last couple of years, but even with having two "foreigners", they didn't really do anything that distinguishes it from the other shows. Well, I'll remember the Engrish anyway... for that reason alone, I almost want to see someone dub it to see what they do with it.
---
Yaoishiken 12
Madarame.
Dedication Through Light
Member
What is there to look up? Isnt it an fresh and new anime?
R_thanatos
Member
Majestic prince - 18
The second part of this fihgt was amazing and trlly bonkers in many ways.. Our heroes won but by a thin thread ... the fighting animation is awesome , as usual.
The part in vulgarian territory was awesome for other reasons, jiart continues to be highly competent and awesome... i also like the fact that he doesn't care about the throne , but just want to enjoy the hunt ... in effect his character action are very good and unpredictable and that makes the entire show better IMO... can't wait to see more in action.
The second part of this fihgt was amazing and trlly bonkers in many ways.. Our heroes won but by a thin thread ... the fighting animation is awesome , as usual.
That was very unexpected.
The part in vulgarian territory was awesome for other reasons, jiart continues to be highly competent and awesome... i also like the fact that he doesn't care about the throne , but just want to enjoy the hunt ... in effect his character action are very good and unpredictable and that makes the entire show better IMO... can't wait to see more in action.
Oh yeah, Twin Spica, I watched like five episodes of that, and meant to finish it someday. It seemed inoffensive enough, if not the most original storyline.
firehawk12
Subete no aware
Stratos 4 is hard SF inasmuch as it does the whole ballistic interception thing well.
TO had that time dilation story in the first episode.
Jex
Member
[Attack on Titan] - 24
Holy Shit.
In some alternate universe where a technically competent studio filled with amazing animators managed by a solid production schedule produced Attack on Titan maybe every episode could bee this amazing. We don't live in that universe and so, most of the time, Attack on Titan is an averagely animated series filled with sills, repeated animations and dead time.
Sometimes, however, the series manages to break free of these limitations and look truly astounding. So far those episodes have been episode 7 and episode 17. I can now safely add episode 24 to that number because it's packed with frankly astounding action sequences and beautiful animation. If you're one of those people who only tunes into the show to see it at it's best make sure to watch this episode.
Even with some fairly dodgy pacing during the earlier part of the episode this is still one of the best in the whole series, which actually isn't saying much considering the quality of some of the other material.
Holy Shit.
In some alternate universe where a technically competent studio filled with amazing animators managed by a solid production schedule produced Attack on Titan maybe every episode could bee this amazing. We don't live in that universe and so, most of the time, Attack on Titan is an averagely animated series filled with sills, repeated animations and dead time.
Sometimes, however, the series manages to break free of these limitations and look truly astounding. So far those episodes have been episode 7 and episode 17. I can now safely add episode 24 to that number because it's packed with frankly astounding action sequences and beautiful animation. If you're one of those people who only tunes into the show to see it at it's best make sure to watch this episode.
Even with some fairly dodgy pacing during the earlier part of the episode this is still one of the best in the whole series, which actually isn't saying much considering the quality of some of the other material.
firehawk12
Subete no aware
Did they find the basement yet?
Jex
Member
Hahahahahaha. I doubt the writer has even worked out whats in there yet.
whats TO? time dilation reminds me of Voices of a Distant Star, damn that was good.
Twin Spica is another one where i love the manga, tbh i've kinda avoided the anime in case they fucked it up. do you know if they remained faithful?
thanks for the sci-fi recommendations everyone, will watch Honneamise soon & give LoGH a shot at some point, epic space opera does appeal to me.
no dregathon tomorrow, DVD 05 & 06 are from the same series & there are 12 episodes to get through, even i have my limits.
the main character is voiced by Rie Kugimiya apparently
firehawk12
Subete no aware
They should get Lindelof on that ASAP!
I think the manga was called 2001 Nights (which I assume is a reference to the Arabian Nights thing), but the OVA itself is just called "TO". Someone smarter than me probably knows why they called it that though.
Oh, and for Time Dilation goodness, of course there's also Gunbuster.
FelixOrion
Poet Centuriate
Maybe Pale Cocoon (even though its an OVA)?
Jex
Member
The only good thing about catching up on Attack on Titan would be fast-forwarding through all the filler, which would probably cut the run time of each episode in half.
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