So I guess this is about Yuffie in a post-apocalyptic desert world or something. Well, she decided to stop using her big-ass shuriken and is now just using a standard sword. Well that's fine too, because there's some pretty cool swordplay and choreography.
Not usually a fan of deserts, but I gotta say I like how it looks in this show at night, and the art isn't even anything to write home about.
That was a really strong introductory episode, as it skillfully wove an abundance of characters into the established narrative, while rarely faltering into a lack of compelling focus. As such, the seemingly mundane, but very enjoyable, developments throughout were exceptionally well-paced. The market is superbly atmospheric, riddled with a plethora of subtleties that directly assist in capturing the immense liveliness of the setting, which, in itself, is excellent, since it nicely differentiates itself from the school setting that KyoAni typically adheres to. Of course, the actual narrative is rather straightforward, but there are several complexities and lingering mysteries that allow it to be suitably intriguing.
Though lacking characterization, Tamako is a really likable protagonist, since she possesses a thoroughly endearing personality, illustrated most noticeably by her numerous and relatively affectionate interactions with nearly every character that appeared. Mochizou, though not nearly as interesting as Tamako, is a pretty good character as well, so Im hoping that, if hes to be prevalent throughout the remainder of the narrative, hell actually be developed in a substantial manner, rather than isolated to some tangential worth, marked by intermittent appearances of an insignificant nature. Of course, the most likely and potentially most satisfying direction to take his character would be a methodical focus on the development of his foreshadowed
romantic interest in Tamako
.
Deras antics were surprisingly hilarious throughout, as I initially expected him to be one of the worst and most insufferable characters. Thankfully though, his involvement only elevated the effectiveness of the comedy. However, Im not entirely certain that this peculiarity will manage to remain consistently enjoyable, since, though highly effective throughout this episode, it did occasionally linger on the vague precipice of irritation.
The narrative, though satisfyingly established, is rather simplistic and quite indistinct. However, thats not necessarily a significant flaw here, or, at the very least, it hasnt yet appeared to be one, since the element that seems to be most essential to the quality of the show is the wonderfully enjoyable and compelling interactions among the excellently differentiated characters. Of course, as the story progresses, I would greatly prefer the narrative to be increasingly suffused with a complex depth, rather than perpetually maintaining its cheerfully straightforward origins.
Though its very subtly foreshadowed, Im really hoping that some form of a thinly veiled
romantic triangle
wont be filtered into the narrative as the story progresses, since it will likely be detrimental to my enjoyment of the show, as, above all, the
prince
doesnt seem to be even marginally integral to the storys development, aside from his worth as the
eventual romantic interest
for what I assume will be one of the characters that has already been introduced. It would be quite disappointing if a
romance
is included solely in order for the ancillary
prince
to succeed in establishing a
romantic relationship with Tamako
, when, by the time he does appear, if at all,
Mochizou
will have likely been developed in a far more significant fashion. As such, Im hoping and expecting that the
girl Dera is searching for
will be
one of Tamakos friends
, as the alternative is far too predictable and needlessly conventional.
The subdued direction was consistently fantastic, as it deftly balanced a plethora of characters and their individual introductions, as well as showcasing a particularly nuanced delicacy within the framing of several moments, in which it deftly accentuated an abundance of subtleties within the immensely engaging interactions between characters. It also complemented the distinctly surrealistic nature of the show and, in turn, its comedic aspects. As such, the humor, for the most part, really worked in establishing the lighthearted atmosphere that pervaded throughout this episode. Musically, this episode was wonderfully complementary, as each selection seemed perfectly suited for the moment it accompanied. The OP is pretty great, due largely to its superbly energetic style. Though the song is quite nice on its own, the ED particularly excels with its exceedingly naturalistic imagery.
Visually, this episode was spectacular and wonderfully energetic, and, similar to Hyouka, the artistic elements are exceedingly superb, displaying a tendency for striking imagery. The background art, in particular, was exceptionally detailed, depicted most thoroughly by the numerous exterior shots within the market. The vibrant aesthetic really illuminated the details within the many disparate environments. As such, the colorful artistry is one of the most effective aspects of the show, as it thoroughly accentuated the inherent liveliness within the setting. The animation was terrific throughout, as it was skillfully able to illustrate an abundance of complexities within a plethora of exaggerated movements and nearly imperceptible flourishes of emotive expressions. This, of course, has always been one of KyoAnis strengths, but, even so, this element rarely failed to amaze.
All in all, Tamako Market is one of the most promising shows of the season, as it possesses immense potential, particularly with its character interactions and their eventual development. As such, though not exactly saying much given the thoroughly weak competition, this will very likely to be my favorite show of the season, as long as it satisfyingly develops the narrative and characters as the story progresses. For a wholly original premise, KyoAni certainly appears to be meticulously constructing nearly every element of the show, and, so far, this masterful execution is comprehensively impressive.
Poor Branduil and the contaminated SSY OT. I'm never going in there again. Some guy apparently "read the novel" and has decided he's going to reply to every single speculation post with actual answers.
Poor Branduil and the contaminated SSY OT. I'm never going in there again. Some guy apparently "read the novel" and has decided he's going to reply to every single speculation post with actual answers.
I don't think he's breaking any rules. This is what happens when you don't establish the perimeters of discussion in the OP for a show based on existing material!
Haha, thankfully, I spread these episodes out over the whole day, rather than watching them all in one go; I just had to formulate my thoughts into actual reviews.
I sometimes don't post my impressions until a few hours, or sometimes a full day after I watch an episode.
Of course, my impressions are all crap compared to his.
Bleh. Not really feeling this series. It's too absurd for me to really get that invested, but it's not absurd enough to work as a comedy. None of the characters really stand out to me, their designs aren't very appealing to the eye, and overall the show doesn't really look that good. Tank battles are OK though.
I had a feeling there were some cultural misunderstandings or hints that we wouldn't get (for the first few ones, anyways). It's still wacky and really cool though.
This shit was amazing. Just a big homage to 80s action/scifi stuff.
As a whole, the OVA series was weird due to the inconsistent tone. The first two episodes with the incompetent Daizaboru were campy and damn funny, didn't care for how the third played things mostly straight as that sort of things wasn't really a strength for the characters, but the crazy homages and melodrama in the fourth OVA sure went a long way.
I demand details and spoilers! Cus I doubt I'll be watching beyond another episode or two, I have yet to finish a single Shaft anime besides Madoka Magica.
About time this came out. Some really nice backgrounds certainly helps make this show about three sisters and their grandma haunted by an annoying and spiteful wood spirit nice to look at. Definitely one of the better shorts of last season.
Backlog Season Part 2: The Third: The Girl with the Blue Eye 1
So I guess this is about Yuffie in a post-apocalyptic desert world or something. Well, she decided to stop using her big-ass shuriken and is now just using a standard sword. Well that's fine too, because there's some pretty cool swordplay and choreography.
Not usually a fan of deserts, but I gotta say I like how it looks in this show at night, and the art isn't even anything to write home about.
I demand details and spoilers! Cus I doubt I'll be watching beyond another episode or two, I have yet to finish a single Shaft anime besides Madoka Magica.
Just read this as he mentioned. I'm surprised that it really is just a step-by-step explanation of what happened. Wouldn't want to ruin it with subtlety or anything.
I thought we'd done quite well on the spoiler front. I didn't mention any of the spoilers I'd read at all in the thread (I don't really know anything about the final arc at all). Then the Chinese had to kill what little discussion we had going with their fan translations!
Which reminded me - has anyone read The Crimson Labyrinth, which is I believe the only Yuusuke Kishi novel available in English? If so, is it good? There's a live action film out at the moment of another of his novels, Evil Teachings, which I thought I might track down, but I wondered if anyone had read Crimson Labyrinth in the meantime.
Holy shit, Mor. Good ep and the individual character focused eps have gone a long way in making the cast more likeable, and more importantly, repairing the damage caused by those first three eps.
