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Surrender Artist
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PostPosted: Sat Jan 21, 2012 3:43 pm Reply with quote
Blood- wrote:
My own theory is that Aniplex is simply waiting until the most evil moment possible before announcing that they will be selling it for $100,000 per half-episode (and the deed to your firstborn).


Well, for the standard edition, yeah, but what about the limited? I mean, that'll come with stickers.
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Blood-
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PostPosted: Sat Jan 21, 2012 4:02 pm Reply with quote
Surrender Artist wrote:
Blood- wrote:
My own theory is that Aniplex is simply waiting until the most evil moment possible before announcing that they will be selling it for $100,000 per half-episode (and the deed to your firstborn).


Well, for the standard edition, yeah, but what about the limited? I mean, that'll come with stickers.


Of course it was understood i was merely talking about the standard VHS version, naturally. Yes, for the LE BD with stickers, there's something about contracts, blood and immortal souls. I'm not sure of the particulars myself, but it all sounds on the up and up.
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DifferentD



Joined: 09 Mar 2011
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PostPosted: Sun Jan 22, 2012 2:45 am Reply with quote
Well while I surf the internet I'm making my way through Lucky Star for the.. (who knows how many times I've watched this now?) and it just never gets old for me. It's one of those comedies that just puts me in a great mood..


I'm pretty bummed, assuming we wont see anymore of the manga being released here in the U.S. anymore. >>
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errinundra
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Joined: 14 Jun 2008
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PostPosted: Sun Jan 22, 2012 10:04 am Reply with quote
Adieu Galaxy Express 999

Like the original Galaxy Express 999 this is quite a hodge-podge of a film. Unlike the original, however, the various elements fail to cohere so that, instead of being a coming of age story of mythic tone and proportions, it ends up as a middling space opera. My favourite character, Maetel, is absent for far too long and, when she finally appears, she plays pretty much the same role as she did in the original - the beautiful and mysterious woman who may be treacherous. But we know her true nature so there's no tension. Between these two movies and Maetel Legend, how many times does Maetel have to confront her mother? How often does her mother get resurrected? How many times must their homeworld be destroyed? How many homeworlds do they have? Four different ones as far as I can count. That's the wondrous Leijiverse for you.

Tetsuro is mostly an observer so there was little tension to keep me interested. He has done his growing up already so there's also no sense of him experiencing a right of passage. The Leijiverse heroes make their obligatory appearance as do a smattering of new characters but the encounters mostly come across as random adventures rather than valuable life lessons. The interventions of Emeraldas and Harlock are as contrived as ever but the mythic feel of the original is mostly absent.

Still, Maetel and Tetsuro are great characters so all is not lost. Kathleen Barr and Saffron Henderson, respectively, continue their fine work. One thing: the design and posture of Maetel comes across as slightly wooden compared with the earlier movie. I don't think the issue is the acting but, rather, it eminates from Japan.

I'm coming to the conclusion that Rintaro isn't much of a director. I think he fluked something special with Galaxy Express 999.

Rating: decent

She, the Ultimate Weapon (aka SaiKano)

This has a preposterous premise: a clumsy, well-intentioned, sweet girl - Chise - has been enhanced / developed by the military to be the most powerful weapon ever made. As Oppenheimer put it, quoting the Bhagavad Gita, she has "become death, the destroyer of worlds". Well, cities at least. Successful anime always manages to draw your attention away from any issues with the premise. The viewer can then be captured by the characters and the story. Here I found the problem reinforced whenever Chise did her transformation from school girl to nuclear bomb (and all manner of offensive ordinance in between).

That wasn't the only problem. (I'll get to the good bits in a moment.) How many buckets of tears do Chise and Shuji shed over 13 episodes? We wouldn't have water restrictions here in Melbourne if we could somehow channel them in our direction. It's like crying wolf (or exaggerating in ANN posts): it has the desired emotive effect the first few times but one does rapidly become somewhat blasé to the obvious audience manipulation. It's poor writing, as simple as that. Compare it with Koi Kaze or something I've watched recently, Dennou Coil. Both develop intense, emotional situations without constant recourse to waterworks.

The recurring problems are a shame because the series does other things tremendously well. The maturing of the relationship between the two lovers - Chise and Shuji - is, apart from the copious tears, subtle, amusing, gradual and entirely believable. Their unfolding tragedy becomes gripping fare. Even though both have intense and highly ambiguous relationships with other characters (Chise with Tetsu; Shuji with both Fuyumi and Akemi), their own relationship never seems compromised. Indeed, these seeming infidelities are equally convincing. The series slowly develops a very adult approach to sexuality. In general, the support characters are well written: Akemi the chirpy school friend with an unhappy secret, the desperately lonely Fuyumi, the simultaneously honourable and wayward Tetsu, and Kawahara - he with the sweaty forehead and tortured conscience - stood out.

The escalating terror of war approaching Chise's and Shuji's home town by the sea makes for a chilling backdrop. Military leaders find themselves prosecuting a war where they know that victory isn't possible in any humane and rational sense, but where no-one can conceive a better option. Chise may be the weapon to end all wars, but she just may destroy everybody in the process. This is a series that doesn't mind killing off important characters (kill 'em all Tomino comes to mind) but it does it pointedly and poignantly.

Rating: good

She, the Ultimate Weapon: Another Love Song

This OVA, produced three years after the original, retells Chise's story from the perspective of Lt Colonel Mizuki, Chise's commanding officer, and predecessor and prototype as human weapon of mass destruction. She is an icy, ambitious, highly strung but loyal career officer. And therefore not particularly appealing as a protagonist. Shuji is completely absent as a character, although he hasn't been excised from the story. His absence highlights how central he was to the success of the TV series. Without the central love affair I didn't become invested emotionally in the new version. What's more, the bizarre creation that is Chise is no longer moderated by Shuji's presence. The original provided a somewhat closeted perspective on events (basically it's Shuji's) so the OVA does give a broader understanding of who and what Chise is.

Another Love Song is both more stridently moralistic in its attitude to war and less effective in getting its humanist message across.

Rating: decent

Arrietty

As part of a major release in Australia (through Madman), Arrietty is screening in 12 cinemas in various locations across Melbourne. One of them - Cinema Nova in Carlton - is screening the Japanese dub with subtitles whereas the others are showing the UK dub. Yes, we speak English in Australia, not American, though some may find our accent strange. Melbourne is arguably the anime capital of Australia and is home to both Madman and Siren Visual. (I live only a short tram journey from Madman's warehouse).

Anyway, I trundled down to the Elsternwick Classic yesterday and came away convinced that it's the best Ghibli film since Spirited Away (although that isn't necessarily saying a lot) and that Arrietty is the best Ghibli heroine since Porco Rosso's Fio. (Why do all the best Ghibli and proto-Ghibli girls have red hair? Think Nausicaa, Fio, Clarisse and now Arrietty.)

The English dub is appropriate, simply because the original Borrowers is set in England. Ghibli's take is fascinating, though. They have deliberately mashed up English and Japanese cultures. To whit, the setting is a mostly English house with a smattering of Japanese features; it has an English garden with Japanese monuments; the borrowers keep their original English names while the host humans have Japanese names; when the human family has dinner two of the characters eat a traditional Japanese rice dish with chop sticks while the third has meat and three vegies using a knife and fork; when you see text on screen such as books or signs, sometimes it's in English and other times it's in Japanese. (The American version gives the human family English names, completely missing the sly multi-cultural joke.) The weirdest thing - pointed out to me by my sister - is that the cars drive on the right hand side of the road, which is at odds with both England and Japan. I have to admit I missed that detail so I have to take her word for it. It's also odd that Spiller looks like an American native. I must say I really appreciate Ghibli's perverse non-conformity.

Getting back to the marvellous red-headed heroine, Arrietty is competent, self-confident and perhaps a tad serious. Her voice actor, Irish woman Saoirse Ronan is nigh-on perfect in the role. Geraldine McEwan as the scheming maid Haru isn't far behind whereas Olivia Colman's Homily is perhaps too over-the-top in her hysterical timidity. I found the slow enunciation of the male characters - Shu and Pod - distracting, as if their scripts didn't properly synchronise with the lip flaps.

The film is at its best in the first half when Arrietty, alone or with her father Pod, explores the wonders of the garden or the seemingly cavernous human house. Not only is the wonder of her world exquisitely observed but we get to see our own world through an entirely new perspective, with clever visual and sonic observations on things we take for granted. The friendship between tiny Arrietty and human Sho is sweet and platonic, but the development is so succint that it didn't succeed in getting me emotionally committed to it. It's as if the makers were so enchanted by the world of the borrowers that they lingered there just a little too long. I, for one, liked it that way.

The film is not so effective in the second half. The exploration takes a back seat to the plight of the borrower family as they contemplate their compromised secrecy and their future security. The action isn't particurlaly exciting and the sense of wonder is overtaken by events. Beyond Arrietty none of the characters have the presence to carry the unfolding drama. The penultimate scene isn't as wrenching as it may have been, thanks to the not totally convincing bond between Arrietty and Sho.

The music is perfect. Breton Cécile Corbel’s Celtic harp is a revelation for a Chibli production. What could be more appropriate than a Celtic harp for a film about the little people?

Rating: very good


Last edited by errinundra on Tue Jan 24, 2012 5:20 pm; edited 6 times in total
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Surrender Artist
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PostPosted: Sun Jan 22, 2012 12:52 pm Reply with quote
errinundra wrote:
ailblentyn wrote:
@errinundra
Can I ask: You're not watching Maris the Chojo on DVD, are you?
There's not some R4 Rumic World nostalgia box set or something, is there?


Sadly, no. It's a crappy quality fansub I downloaded. (Compare the screenshot with the Dennou Coil screenshot.) Crying or Very sad


Maris the Supergal was one of the first anime that I ever bought. I had a videocassette with an English dubbed version on it. I threw it away a few years ago, but I almost regret that, even though I no longer have ready access to a VCR. It's a fun little short story that's pleasantly concise.

The English dub of it was fairly good, or at lest uncommonly tolerable, especially for its time, but inexplicably gave Maris' strange many-tailed fox companion a bad Scottish accent.

Botan24 wrote:
B Gata H Kei - Yamada's First Time came in the mail yesterday, and I've been watching it with my husband. This is actually my second time seeing it, but it's my first time viewing the dubbed version. Funimation holds a special place in my heart for their consistently funny comedy adaptations.


I had written this series off because I thought that it would be banal, exploitative trash that unhealthfully appeases the base instinct of the emotionally stunted, but if it's actually funny and maybe even a little sincere instead of just debasing, I might reconsider.

errinundra wrote:
Adieu Galaxy Express 999

Like the original Galaxy Express 999 this is quite a hodge-podge of a film. Unlike the original, however, the various elements fail to cohere so that, instead of being a coming of age story of mythic tone and proportions, it ends up as a middling space opera. My favourite character, Maetel, is absent for far too long and, when she finally appears, she plays pretty much the same role as she did in the original - the beautiful and mysterious woman who may be treacherous....

I'm coming to the conclusion that Rintaro isn't much of a director. I think he fluked something special with Galaxy Express 999.


As usual, we seem to feel pretty much the same way about this Leiji Matsumoto stuff. Adieu Galaxy Express 999 felt like much more of the same, but with some of the best forgotten or sanded off. The first film got a lot out of a sense of boyish wonder, but that won't get very far within the context of a franchise.

Perhaps I just adore Galaxy Express 999 too much to have been satisfied by any sequel.

errinundra wrote:
She, the Ultimate Weapon

This has a preposterous premise: a clumsy, well-intentioned sweet girl, Chise, has been enhanced / developed by the military to be the most powerful weapon ever made. As Oppenheimer put, quoting the Bhagavad Gita, she has "become death, the destroyer of worlds".


The preposterous nature of the premise somehow made me like it better. I thought of it as a sort of grand preposterousness that opened up the possibilities of the story rather than stupid or lazy kind that renders something intolerable to any but the willfully feebleminded. I don't think that there's any way that it could have set up that wasn't absurd. I suppose it let me accept everything as to some extent an abstraction, which made it all easier to swallow and even a bit starker. The series became very heartrending later on. It might be different if I were to watch it again, but, as I wrote in the storied past, episode nine really unsettled me the first time I saw it. Strangely enough, however, as individual striking as that, it was the way it showed a sort of generalized melancholy about the misery of war more than the particular horrific incidents that has stayed with me most. (The effect was a little bit like Tom Waits' "The Day After Tomorrow")

I also found the ending very striking and potentially unsettling. Depending upon how one thinks about it, it can be horrifying.

I'll agree that Another Love Song is inferior to the series, but I think that I found Lt Colonel Mizuki sympathetic in a tragic way. I watched it only once and quite a few months ago, but I saw her as somebody fighting against her perceived inadequacies, but ultimately losing.

errinundra wrote:
(Why do all the best Ghibli and proto-Ghibli girls have red hair? Think Nausicaa, Fio, Clarisse and now Arrietty.)


Well, red-heads are just awesome that way. (Incidentally, here is a picture of my chin, well, as it stood three years ago [little has changed])

As for myself, I watched Xenosaga: The Animation at the beginning of the week before last. I have never played any of the Xenosaga games, but I’ve always been slightly interested in them. That kind of mythic space fantasy appeals to me. The series promised an intricate mythos and at least some grandeur. I was curious to see what was there, however, my curiosity was not rewarded.

Xenosaga: The Animation felt as though it took many steps to walk a short way. So many events of this series felt like dry, tedious little steps in some technical plan, but at the end it felt as though neither the characters nor the story had gone very far for all of the trouble. I think that the series meant to be grander; the details of the finale seemed like a big deal, but for me, it was a lot of trouble to make me not care. A lot of time was quite evidently spent on devising things to put into this universe, but they tended to crowd the characters out rather than become context for them. This was made worse by the characters often just seeming to act foolishly or just inexplicably. I felt little interest in or empathy for any of the characters. KOS-MOS came off as impressive and there was clearly potential for something deeper about Shion’s attitude toward her, but it never came through effectively. The series didn’t allocate its time among plot, exposition and characterization well. There was a large pile of them, but little focus and none were portrayed with any novelty or passion that made them worth investing in. When it tried to give the characters their do, it was usually done very simply and broadly, so much so that it tended to work against my becoming interested in them. Worst was Albedo, who was just another cackling nihilist with uninterestingly inhuman motivations.

It all looked pretty dull too. Some of the designs were nice; KOS-MOS was striking, but the color was weirdly flat and it often felt very stiff. Motion seldom seemed fluid or well-staged and character detail often failed. The captain of the Elsa Von Brabant had the curious phrase, “Caution! I'm a boozer,” on his cap, but at least twice it decayed into a cluster of irregular boxes. The series also used computer generated spaceships and objects, which looked typically jarring. The mechanical designs were a mix of impressive scale with uninteresting design.

I watched this on Hulu, so only the English dub was available. This is fine as I am a hopeless philistine anyway, but I wish that the Japanese dub had been available for comparison, because the English dialogue was underwhelming. Luci Christian performed fairly well, sounding fairly inhuman without computer assistance (although she doesn’t threaten Lia Sargent as R. Dorothy Wainwright in the category). Everybody else just aspired to adequate. There were very able performers in this cast, but the script and direction were somewhat limp. Steven Fenley used a particularly broad, fake-sounding voice for Captain Matthews. It all felt safely mediocre; nobody seemed to risk overacting, which is a shame, because that might have ended up in intensity or excitement and gone no worse than entertainingly hammy.

I think that Xenosaga: The Animation could have been a much better series than the disappointment that it amounted to. The pieces were all there, but not very well assembled. It is also hurt be quite evidently not being the end of the story. The finale leaves a few things unfinished and clearly prepares a few things that are meant for continuation, but by this point, I think that we can safely discount any possibility of that.

The second thing that I watched that week was Destiny of the Shrine Maiden, because… well… because Lesbians. There’s really no other good hook to this and that hook didn’t work out well either. My video card failed on January 13th, the day that I had meant to just get the last episode of the series over with, leaving me to use an eight-year-old computer that was originally assembled for my dead childhood best friend’s use in college until a replacement video card came. I didn’t trust that for most streaming video and by the time I had my usual computer working again, I had forgotten about Destiny of the Shrine Maiden and only remembered it a few days later when I happened to be wandering around the archives on Okazu. This should indicate how little affection I hold for the series.

It’s all a mess. The story never really held together in my mind. There’s something about Shrine Maidens and something with necks, then distinctly mechanical-looking giant robots somehow tied an ancient evil kept showing up not long after every eyecatch, which were a relief from wasting time with some pretty lame characters and there was that one thing that… well, I didn’t exactly care for it. It even seemed to forget all of the allegedly significant mythos that is laid out for a lot of clumsy soap operatics, which seldom made good sense, for much of the series, only to hurry up and get it over with hastily and cheaply at the end. This series was just a lot of stock ideas put into a blender set to ‘derivative’. It all just seems so blatantly cynical. This series wasn’t written, it was calculated.

The lynchpin of my irritation with the series is Himeko, its protagonist. I can’t for the life of my see why I should bother to become invested in the character, much less why two of the other characters in the series were supposedly so enamored of her. She’s a flaccid, helpless, mostly-empty simpering sack of a girl. The series sometimes brings up that she likes to take pictures, but other than that she is defined mostly by being weak-willed and helpless, which is to say that I found her obnoxious and boring. I didn’t find any believable motivation for why Chikane and Sōma were so devoted to her except perhaps that they craved the sense of power and self-gratification that possessing her might offer, but that’s assigning too much depth and pathos to this series. The writers try awfully hard to evoke emotions, but even as a sucker for melodrama, I was usually unaffected, in fact I was sometimes contemptuously amused. Perhaps if this were some bleak account of degenerate relationships among deficient people professing to want to share love with others, but really only trying to aggrandize or satisfy themselves this could have been beautifully painful, but I think that the people who wrote this intended for the audience to admire and sympathize with the romances in it.

Chikane was superficially admirable enough, but that’s just because she was a stock perfect girl who was no better a character than Himeko, but could do most things for herself, so was at least less obnoxious. I found Sōma to be just a dull appendage to the story; a blank third pillar for a love triangle. The seven necks of the Orochi, a phrase that I am bemused to find hardly gives me pause by this point in my life, are giving passing development as genuinely broken, suffering or troubled people, but that is mostly shown peripherally; they spend most of their time as archetypes, just lounging around on giant shrine gates in some nether-space.

The only really saving grace of Destiny of the Shrine Maiden is that its artwork can be awfully pretty. There are some lovely, graceful vistas and vibrant, colorful landscapes that do seem like they could be background for something worthwhile. None of it is very creative, but it’s at least mostly well done. The animation and direction are equal to that. Every giant robot fight plays out in very uninteresting fashion with unimpressive animation and the characters don’t move with any impressive fluidity or flare either.

I watched this on Hulu with only the English dub available, but I sometimes wished that I could listen to the Japanese dialogue, although I doubt that it would have been much refuge. Himeko’s voice irritated me as badly as her characterization did. I like Stephanie Sheh, so I was almost distressed to hear her reduced to squeaking out endless pabulum in a weak, childish voice. That was fine as part of the joke in Lucky Channel, but played straight, it’s insufferable. From what I’ve read, she was just obeying the style of the Japanese actress, which probably would have been even worse. The rest were just unremarkable.

The more I think about Destiny of the Shrine Maiden, the less I like it. I was almost willing to just write it off as lousy, but as I’ve considered it more, the portrayal of Himeko and the relationships in this series creep near being outright offensive. The only benefit that I got from watching Destiny of the Shrine Maiden is finding that even though, to quote from scripture, "I seem to be having tremendous difficulty with my lifestyle,” I at least remain self-aware enough to have not bought into it.

For reference:
Destiny of the Shrine Maiden:
Seen in part or in whole by 2977 users, rank: #255 (of 5083)
Bayesian estimate: 7.823
Revolutionary Girl Utena:
Seen in part or in whole by 2692 users, rank: #301 (of 5083)
Bayesian estimate: 7.813 (Very good−), rank: #406 (of 3861)

I'm having one of those 'stranger in a strange land' moments.

I hope that Simoun turns out to be better than that; yuri needs some revivification in my eyes at the moment.


Last edited by Surrender Artist on Sun Jan 22, 2012 2:56 pm; edited 3 times in total
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The King of Harts



Joined: 05 May 2009
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PostPosted: Sun Jan 22, 2012 1:25 pm Reply with quote
I, too, found B Gata H Kei hilarious. At it's a core it's a basic love story that's pretty typical, but it's also a sex comedy and that's what it rides on. It's in the same vein as Buttobi CPU, Futari Ecchi, and Koe de Oshigoto, though it is much more tame than those since it's a TV series. However, like those three, it relies heavily on sexual innuendo, double entendre, and *ahem* situations, and it nails them all.

What it basically boils down to is: Do you like sex comedies? If yes, you'll probably love BGHK. I, personally, almost died only a few minutes in because the main character was looking at her vagina and yelled, "Why do you look like that? It's so weird! Does everyone else's look so strange!?" and then it has a dream sequence later one involving a potential partner asking, "Wow, what's that about?" while splitting her legs open and looking at the aforementioned vagina.

Also, if you're fan of Funimation dubs, this is probably one of the bests they've done for a comedy. Karbowski is gold. You can also watch the first episode on their site if you're really on the fence. I bought the LE as blind buy, and I don't regret it at all since this'll probably end up on the rewatch queue for years to come.
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Blood-
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PostPosted: Sun Jan 22, 2012 3:03 pm Reply with quote
The King of Harts wrote:
I, too, found B Gata H Kei hilarious. At it's a core it's a basic love story that's pretty typical, but it's also a sex comedy and that's what it rides on.


*rimshot*
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The King of Harts



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PostPosted: Sun Jan 22, 2012 3:10 pm Reply with quote
Like I said, double entendre. Wink
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Akimm



Joined: 21 Jan 2012
Posts: 11
Location: SGV, California

PostPosted: Sun Jan 22, 2012 10:48 pm Reply with quote
I'm actually having trouble deciding what to watch next. It'll probably be Trigun. Amazingly enough, I haven't seen this anime. I've been told that it's essential, just like Cowboy Bebop is said to be.
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Ggultra2764
Collector ExtraordinaireCollector Extraordinaire


Joined: 21 Jan 2004
Posts: 2398
Location: New York state.

PostPosted: Sun Jan 22, 2012 10:55 pm Reply with quote
Started up Legend of Black Heaven yesterday. Been a fun slice-of-life/ sci-fi comedy about middle-aged office worked Oji reliving his younger days as a lead guitarist for rock band Black Heaven by helping an alien fleet deal with an enemy threat literally through the power of rock. The trio of clueless alien gals who accompany Layla have to be the best comic relief characters I've seen in an anime and that's saying something considering I'm not normally a fan of pure comic relief characters. The rock music used for it has been great on the ears, in particular the OP song from English rock guitarist John Sykes called "Cautionary Warning."
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Tris8



Joined: 30 Oct 2009
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Location: Where the rain is.

PostPosted: Sun Jan 22, 2012 11:36 pm Reply with quote
Akimm wrote:
I'm actually having trouble deciding what to watch next. It'll probably be Trigun. Amazingly enough, I haven't seen this anime. I've been told that it's essential, just like Cowboy Bebop is said to be.
Yes, definitely watch it. It has a hilarious beginning and an intense, yet at the same time pensive, ending. One of my absolute favorites. I also love the dub. Johnny Yong Bosch makes the role as Vash, and everyone else does well too. If you like gunslinging action in a very well planned out setting, protagonists that smoothly transition from silly to serious and back, and tons of explosions and gunfights this is for you.
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Dorcas_Aurelia
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Posts: 5344
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PostPosted: Mon Jan 23, 2012 12:21 am Reply with quote
Noticed Crunchy Roll has Pretty Cure available, so I started that one up. Then I looked it up on MAL to add it to the list of shows I've seen and HOLY CRAP THERE'RE HOW MANY SERIES OF PRETTY CURE!?

Anyway, first episode was fine, although I kind of feel like it looks a little older than it is.
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venomblade89



Joined: 03 Nov 2011
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PostPosted: Mon Jan 23, 2012 12:59 am Reply with quote
Just finished Umineko no naku Koro ni. Was recommended Mirai Nikki and Another, by a friend. Watching both, lovin em Smile
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ailblentyn
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PostPosted: Mon Jan 23, 2012 2:53 am Reply with quote
@errinundra
Awww. Reading about your opportunities to see Arrietty on the big screen makes me wish all over again that I was back home (in Sydney --- arguably Australia's capital of.. ahem... everything else Wink ). I can't wait to see that film, though it will probably be a little time till I get the chance, unfortunately.
Or till I get the chance to come home. Crying or Very sad
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naninanino



Joined: 18 May 2008
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PostPosted: Mon Jan 23, 2012 5:53 am Reply with quote
Dorcas_Aurelia wrote:
Noticed Crunchy Roll has Pretty Cure available, so I started that one up. Then I looked it up on MAL to add it to the list of shows I've seen and HOLY CRAP THERE'RE HOW MANY SERIES OF PRETTY CURE!?


Next month the 9th Precure will start. There is one every year. I hope you chose Heartcatch as it is the the most well received one.
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