hosannainexcelsis
Member
Mushishi Zoku Sho 16
A weak episode by Mushishi standards. The animation was not as confident as it usually is, with some notably unpolished art, and the story was rather diffuse and not especially impactful. Even so, the sequence where the girl's consciousness was drifting away was remarkably atmospheric, relying heavily on faded snatches of visuals that the show doesn't do often.
Mushishi Zoku Sho 17
This, on the other hand, was a strong episode by Mushishi standards. The animation was very good throughout, especially with the remarkably delicate thread animation. The theme of people who can see mushi being ostracized by those who can't is old hat for the series, but the particular spin woven here gave the story unique color and life. Like many of the best Mushishi stories, the interaction between the supernatural and the natural as manifest through the interactions of ordinary people makes for a tale at once strange and familiar, making the themes of family estrangement and the difficulties of childrearing feel fresh.
It's also nice to see that Hiroaki Sakurai (and next episode Akitaro Daichi) came by to help Nagahama out and take a little of the weight of storyboarding responsibilities off him. Nagahama cut his directing teeth under Daichi (who Sakurai is also close to), so it's good to see those historical connections still bearing fruit.
A weak episode by Mushishi standards. The animation was not as confident as it usually is, with some notably unpolished art, and the story was rather diffuse and not especially impactful. Even so, the sequence where the girl's consciousness was drifting away was remarkably atmospheric, relying heavily on faded snatches of visuals that the show doesn't do often.
Mushishi Zoku Sho 17
This, on the other hand, was a strong episode by Mushishi standards. The animation was very good throughout, especially with the remarkably delicate thread animation. The theme of people who can see mushi being ostracized by those who can't is old hat for the series, but the particular spin woven here gave the story unique color and life. Like many of the best Mushishi stories, the interaction between the supernatural and the natural as manifest through the interactions of ordinary people makes for a tale at once strange and familiar, making the themes of family estrangement and the difficulties of childrearing feel fresh.
It's also nice to see that Hiroaki Sakurai (and next episode Akitaro Daichi) came by to help Nagahama out and take a little of the weight of storyboarding responsibilities off him. Nagahama cut his directing teeth under Daichi (who Sakurai is also close to), so it's good to see those historical connections still bearing fruit.
