#also her aesthetic!! one thing i like about takahashi series is that when there's a navigator girl she gets amazing outfits

[coralinnii]

Thanks for answering my ask.... If you don't mind me asking (again), who are your favorite romantic relationship's couples in books/ manga/manhwa/ anime/movies/tv series (can be canon or non-canon)? And why you love them? Sorry if you've answered this question before....Thanks.

Hmm it’s been a while since I care much about romantic relationships (yes, I see the irony of me, a primarily fluff writer, saying that) but there are some memorable ones that I still love for their dynamic. These are the 5 that I can really remember at the top of my head, I’m sure there’s are many iconic ones but these are just my personal “couple goals” people

1. Roy Mustang and Riza Hawkeye from Fullmetal Alchemist/Fullmetal Alchemist Brother (manga, anime)

Soulmates, More than Lovers

Yes, there is Edward and Winry and they’re great too but Roy and Riza, even when they weren’t officially canon? Oh wow, I absolutely idolised their dynamic growing up. They have to maintain a professional relationship as officer and superior but everyone can tell that they care so much about each other. It’s the trust between, it’s the way they understood each other so much and the faith they have of their partner’s competence. They bicker and annoy each other like old comrades but their bond goes beyond being brothers-in-arms, it’s the way they support each other knowing that they both wish for a world where no one has to go through what they did again. Riza believed in Roy not just because she cared about him but also because she truly believes in him making good on his word in building a better government, and Roy believed in Riza because of her integrity, that he knew she will never be swayed and keep him in track of his dream because that’s just the amazing person she was.

2. Sawako Kuronuma and Shota Kazehaya from Kimi ni Todoke (manga, anime, live-action film)

Friends to Lovers

While romcoms aren’t really my thing, this series was my favorite romcom growing up that I still remember it pretty well after all these years. No hate to the other shoujo animes but Kazehaya was the greenest flag and I can’t be convinced otherwise. He was genuinely kind to everyone, didn’t believe in the crazy rumours and saw Sawako as the sweet person she was, and be that supporting friend to her even when he could tell he had feelings for her. Kazehaya had better emotional awareness and understood how he felt pretty early in the series but never pushed the topic on Sawako when she was still new to a lot of social experiences. Sawako was aware of all the support he has given her and in response, worked hard to make sure his efforts weren’t wasted. It was cute, supportive, and the results felt so deserved and not abrupt.

3. Takeru Takahashi and Hikari Yagami from Digimon (anime)

Will they, won’t they, Childhood friends

I’ve been shipping even before I knew what shipping was. I didn’t know why I love them so much growing. Maybe because I really like the aesthetics, maybe because I’m a sucker for childhood friends, maybe because of all the connections of the crest of hope and light. I thought I grew out of this shipping phrase but nope! I went crazy over the crumbs we get from Digimon Tri. They are such a “Will they, won’t they” duo. I can see them work so well as friends as they do as a couple. They tease each other and are so comfortable together but they are always there for each other when either one of them goes through something.

4. Nomoto and Kasuga from She Loves to Cook, She Loves to Eat

Neighbours to ???

This is a fairly new series in comparison to everything else on the list, but I do love the characters of this series. Not only are the main duo relatable as individuals, they found support in each other. This is a personal plus, but watching Nomoto learning she’s an ace lesbian growing these sweet, wholesome feelings for her neighbour makes the dynamic stand out to me more since this helps show to whatever naysayers that believes that the feeding food part of the story is a kink play of theirs. Like dudes…what? It��s really nice to watch two realistic individuals in a grounded relationship (whatever it is at this point), while going through some heavy topics about societal standards.

5. Seo Dan and Seung Jun from Crash Landing on You (Kdrama)

Villainess x Conman

Seeing that Seo Dan was in the position to be the villainess because she was the second female lead and the male lead’s arranged fiance, everyone would think that she would be evil like all the other second leads in Kdramas, but NO! Seo Dan never outright harm the female lead but instead tried to spend time and win over the man that was her fiance. When she realized she couldn’t and her love is turning toxic, she chose not to continue the path of unrequited love and move on, even though it hurt her because she truly loved the male lead, her first love. Seung Jun was in a somewhat similar villain position being a close-hearted conman who’s not the type to stay for anyone. But he starts to fall for Seo Dan, and hated seeing her break because of a man who couldn’t see how amazing she was. This made me tear up to see that Seo Dan found someone that truly love her, and that Seung Jun found someone who he could truly cherish with all his heart. They got to be the realest and best versions of themselves with each other and were a couple that met the right person, there were just some mistakes to realize it.

#coralinnii answers #favorite ships

[soyouareandrewdobson]

Andy on Asian Animation or SYAC: The Master Review 2

Let’s talk a bit about anime and Dobson’s work relation with it.

I think we can all agree, that starting from the late 90s and early 2000s on, anime and manga became extremely popular in the western world. Sure, Japanese animation was nothing completely new to us (Speed Racer, Nadia-Secret of Blue Water, Samurai Pizza Cats, Sailor Moon, Kimba and Akira e.g. come to my mind as properties already known in the west before 1995) but it really was around this time that thanks to “mainstream” stuff like Dragon Ball and Pokemon people became aware of how different Japanese animation was from western. Eventually resulting in the really good shit (like Cowboy Bebop, Black Lagoon, Kenshin and Heat Guy J) coming over and enriching nerd culture for more than just a few people who knew of it as an obscurity at that point. Now, if you know anything about Dobson, you likely know that his relationship with anime is rather… complicated to say the least. Or, to let him explain it with his own words…

Dobson essentially likes silly and wacky 90s anime. But later on he hated anime in general, because it got too popular and a bad experience with an anime club in college soured his enjoyment of it. Furthermore, he put the blame on his lackluster art style and storytelling capabilities as seen in the likes of Formera, Patty and Alex ze Pirate, on anime in general, while also claiming that Disney pulling the plug on 2D animation is the result of the “anime inspired” Treasure Planet, meaning anime in a sense deprived him of his chance at working at his dream job and “ruining” western animation.

Which to me has always been ignorant as fuck. For starters, I can understand not liking certain stories or genres, either for objective or subjective reasons. But to hate on an entire nation’s form of entertainment (not just individual shows or genres), depriving yourself of the chance of potentially watching a lot of good stuff while also being rather insulting to these other works and people enjoying them? Especially when the stuff you can supposedly “stomach” has been rather simplistic compared to other things?

 Second, blaming Japan for “poisoning” your art style? What, did the ghost of Osamu Tezuka possess you and FORCE you to put sweatdrops on your characters forehead while also going for the rather simplistic character style of Rumiko Takahashi, as well as emulating the slapstick of the likes as Slayers and Ranma ½?

 Next, if he had emulated them successfully, I say he would have actually managed to tell decent enough stories worth to read online. Not create Uncle Peggy aka “Discount Happosai” or the bland proto-Isekai known as Formera.

I mean, let’s give some context here: There have been people who successfully managed to emulate certain anime and manga aesthetics into western animation and make it work. Otherwise we wouldn’t have gotten the likes of Avatar-The last Airbender, Samurai Jack, the Animatrix, Thundercats 2011, Super Robot Monkey Hyperforce Go, Kim Possible, W.I.T.C.H, Megas XLR and Wakfu. You know, shows that are actually awesome as hell.

Heck, Dobson’s favorite animated show of the last decade, Steven Universe, is heavily inspired by anime aesthetics to the point of being embarrassing.

 But Dobson… well, he emulated anime aesthetics in his work the same way as these crimes against animation did.

Combined with his general shortcomings as a storyteller it is no wonder his initial comics did not do well.

 Lastly, and sorry for digressing here a bit, but if the Wikipedia entry on Treasure Planet is something to go by, there was no real inspiration by anime involved in making this movie.

Supposedly the idea of making an animated Treasure Planet in outer space movie was already pitched by Ron Clements WAY BACK in 1985 but only came to be after Michael Eisner greenlighted stuff in the late 90s. Design wise the movie was supposed to look 70% traditional and 30% sci-fi inspired and people took inspiration for the art style by illustrators associated with the Brandywine School of Illustration. A western style of illustration established in the 19th century, that had a big impact on the illustration styles for many 19th and early 20th century adventure novels and short stories.

What, is anime supposed to be the only form of animation allowed to have sci fi elements or steampunk in it? Fucks sake, The Lion King and Atlantis, which came out one year earlier to Treasure Planet, were likely more inspired by anime. Don’t believe me? Watch Atlantis and then a certain anime by Studio Gainax called “Nadia-Secret of Blue Water”. Or read up on the controversy surrounding the two.

The truth is, it is not entirely clear what caused Disney to shut down 2D feature film animation in the early 2000s. In fact, if anything, most people put the blame on Michael Eisner and a certain change in the publics taste in movies in general, combined with Disney trying to turn almost every movie they had into a franchise via cheap follow up movies on video and DVD.

And even if Disney did not shut down, are we really supposed to believe that a certain guy with fedora would have made it big at Disney to the point Alex ze Pirate would have been made into a feature film?

But Dobson could never quite understand this and instead of “reinventing” himself properly, he would rant about anime and its fans in one form or another…

 And on the peak of his hissy fit create this little art piece he baptized Anime Sux. Alternatively “West vs East”. Or as I like to call it, slap a jap.

Now, the pic was done in 2008 and Dobson claimed sometimes in the last decade, that he no longer holds his old opinions. Unfortunately, by that point he would also more or less use the chance to vent in his webcomic about anime (or rather its fans), which brings us finally back to SYAC.

 While Dobson never outright thematized in more detail WHY he hates anime and manga in SYAC (likely cause if his comic reasoning was even slightly like his reasoning in his blogs, people would have torn him apart like a bag of paper) he did use the format to punch down on anime fans and their preferences.

 For example, for someone who has a 4chan story going around of having been rather arrogant towards others in college for not liking Ranma ½, Dobson has THIS little college related comic to show off, where he portrays an aspiring manga artist as a delusional jackass.

Then in this strip titled manga, his manga fan is essentially portrayed as a young woman dressing up like a very stereotypical high school anime girl, who is in the wrong for even just DARING to draw her comics in the direction manga are read.

On one hand, I get Dobson’s point. She could be at risk of alienating a market of readers as she is obviously drawing for a western audience. Then again, if she doesn’t draw a traditional western comic but a manga, why shouldn’t she? I mean, as long as she enjoys it, which I assume she does as she seems genuinely just happy when stating that she likes manga, why not let her? Plus, this comic was drawn in the late 2000s. I think by then most people kinda knew how to read from right to left, so Dobson’s claim she would alienate or confuse people is kinda redundant. If anything I find a) Dobson getting angry at her just very petty (just let her have fun) and b) portraying a western manga fan as someone who would be confused by the sheer idea of reading stuff from right to left is also in itself just really dumb and insulting. What is Dobson trying to imply? That anime fans are so stuck in the way they consume certain media, they can’t act according to “western standards” again?

Then there is this strip where yet another female anime fan is essentially portrayed as the embodiment of how “ignorant” manga fans are of the idea of different art styles...

Which becomes rather laughable once Dobson describes his style as a mixture of European, American and  Japanese. Why? Because he is the one oversimplifying things, rather than the anime fan.

You see while anime and manga of all sorts do share certain aesthetics (like the black and white art style, emphasize on the eyes of characters, the way hair is drawn, recurring tropes within certain genres and so on) style wise (both in art and storytelling) there can be severe differences, depending on the artist alone. Akira Toriyama’s style differentiates significantly from the likes of Eichiro Oda, Rumiko Takahashi, Kentaro Miura, Tezuka, Kaori Yuki and so forth.

The same also goes for many western artists. Herge had a significantly different style from Uderzo and Goscinny. Don Rosa has a different style in which he drew Scrooge McDuck than Carl Barks did. Rob Liefeld and Jim Lee draw mainstream superheroes differently compared to how Jack Kirby, George Perez and others did. Heck, Ethan Van Sciver and Jim Lee were closely associated with Green Lantern in the 2000s and look how they differentiate.

 Which btw is the kind of skill level Dobson would have needed to have, to make it in the mainstream industry

So when Dobson says “I draw in a combination of American, Western and Japanese” all I can think is the following: THAT DOESN’T NARROW IT DOWN! WHAT THE HECK HAVE YOU LEARNT IN COLLEGE ABOUT COMICS? WHICH ARTISTS, WORKS AND STORYTELLERS DO YOU TRY TO EITHER EMULATE OR HAVE BEEN INSPIRED BY?

Then there is this little thing…

Where do I even begin? How about the fact that Dobson’s hand in the last panel looks like he has lost a thumb? The fact that the little boy, anime fan or not, is aware of Sae Sawanoguchi, a character from a short lived OVA and anime series from the 90s, which considering his age, I kinda doubt he would be aware off. Unlike Dobson, who got into anime in the 90s and admits in fact within the posts I loaded up earlier, that he had watched the anime in particular, known in the west as Magic User Club.

Then there is the implication by Dobson, that anime is so “corruptive” as a medium, little kids don’t even know the most basic characters in western animation because of it. I expect in a next panel, that all of sudden some 50s PSA guy comes along and lectures me that if I want this kind of thing not to happen at MY convention, I need to teach little kids more about the GOOD western animation, instead of the BAD eastern one. Then there is this rather unflattering portrayal of a shonen ai/shojou ai fangirl…

 Which makes me laugh cause honestly, even some of the worst shonen ai and shojou ai can do better in portraying a “realistic” gay relationship than Patty if you ask me.

Also, as much as I think fangirls can be extremely thirsty (I have read my fair share of extremely stupid yaoi and yuri fanfics) I think that in hindsight Dobson is really not anyone to complain about shipping obsession and sex when he himself has KorraSami, the Ladybug fandom and a certain rat pirate under his floppy belt.

As you can imagine, Dobson would get heat for those comics, considering how he himself has been greatly inspired by anime and manga for his major comics. And while I don’t have any explicit deviantart posts of him reacting to criticism in that regard, I do have this comic which addresses it directly.

 And yeah, if I were schoolgirl number 4, I would just sigh and walk away after telling Dobson that his mistakes and shortcomings are not related to having consumed anime, but rather by what sort of anime (and other stories) he had consumed and the amount of effort he had put in creating his stories instead of emulating just something more popular. Plus, if you really want people to draw more from life, how about drawing more from life yourself down the line? And no, tracing Star Wars movie frames does not count.

Finally, Dobson, considering how very little most people think of your work, I say mission accomplished: People have learnt from your mistakes and know not to be a Dobson.

And at last, there is this comic, which kinda wraps up Dobson’s “vendetta” with anime and manga fans within the pages of SYAC.

By trying to mock anime fans and make them look just as shallow as he is. I at least suppose. Honestly, the message of this comic is rather muddled. On one hand, I would say the strawman accusing Dobson hates anime just because it is popular is very simplified. After all, Dobson has made his reasons for not liking anime clear in a few more details. It’s just that the details in and on themselves in real life are still rather shallow and boil down to a lot of personal bias rather than an objective criticism of actual flaws. Which I think is worth pointing out.

But frankly, what is Dobson trying to say or point out here? That the strawman is not so different or even dumber than him, because he hates Justin Bieber for “shallow” and superficial reasons too?

Okay, this doesn’t quite work as well as Dobson wants. First, the argument Dobson’s strawman makes is in huge parts based on some verified statements Dobson made for not liking anime. Second, he just says a name and that triggers the guy to express his hatred for Bieber. We don’t know why the guy hates Bieber and you could make in fact the case, that he hates him not because he is popular, but because he has a genuine issue with the artist, his work or his behavior as a human being. Third, if you want to make yourself look like the better person Dobson, try to argue with the guy and make solid arguments why you don’t like anime. Instead you just deflect the criticism by changing the subject and then try to make yourself look like the “smarter” person in the room by mocking your critic in the most condescending manner.

Which as I think about it, sounds like your modus operandi on twitter and tumblr.

Weirdly enough, that more or less marks the “end” of Dobson tackling anime fans and the beef he has with them within the pages of SYAC. Despite how much Dobson’s negative reputation especially in early years was build around him hating on anime and belittling its fans, he didn’t really do more afterwards in the Dobson focused pages of SYAC. And mind you, those strips were also separated by other strips in-between, focused on Dobson just being at conventions.

Unfortunately for him, the strips didn’t really help in any way to diminish that negative reputation and instead just confirmed for many, that Dobson can’t handle criticism about his flawed opinion on anime. If anything, it just made people think even less of Dobson, as the strips just painted him as someone who would rather portray his critics as strawman he can be “rightfully” annoyed at, instead of fellow humans with slightly different tastes in entertainment, who are still worth listening to.

So, now that we have the anime fan related “annoyances” out of the way, what other sort of silly problems in making webcomics would Dobson cover in his strips and are “relatable” to everyone?

Lets see some of these examples in the next part.

#anime / manga #manga #Andrew Dobson #fuck you Tom Preston #Tom Preston #syac #so...you are a cartoonist #so you are a cartoonist #review #webcomic #comic #adobsonsartwork #adobsoncomic #adobsonartworks

[officialinuyasha]

Yashahime Trailer Analysis - Full Breakdown + Theories

Video -

https://youtu.be/ebFV15yPO6U

The Yashahime - Princess Half-Demon Official Trailer came out August 7th Japan Time like Kaoru Wada had teased for us on the Otakon Livestream. Here we will read off of what was posted on the VIZ Media Official Website "The anime’s been announced, but now you can sink your canines into some more juicy tidbits about the show. The anime stars Towa and Setsuna, the twin daughters of Sesshomaru who get separated in a forest fire. Towa ends up in modern times and is raised by Sota Higurashi, Kagome’s little brother. Ten years later, they are reunited, but Setsuna is a demon slayer with no memories of her sister. Joined by Moroha, Inuyasha and Kagome’s daughter, they set off on an adventure to regain their missing past." https://www.viz.com/blog/posts/yashahime-princess-half-demon-arrives-in-october You guys will be able to watch Yashahime on VIZ Media's Website and AnimeLab.com when it's released.

First Impressions - @officialkagome​ : “I can tell the Rumiko has a lot of influence in the writing because key points and moments are conveyed just as they were in the Final Act. I believe it's going to be condensed like in the Final Act, but maybe only at first. Focusing on the girls but still including that bonus chapter. I definitely appreciate the animation, it's very aesthetically pleasing.”

Yes, the animation is being directed by the same person who did The Final Act, Sachiya. They also were the same person that did the Adult SessRin artwork that sold it on a calender. Which I actually own. I'm glad for them to return and do the animation. As it makes sense in the continuity. The animation in fact looks even improved further than what we had since the Final Act! Definitely one of my favorite animation directors next to Kumiko.

As I mentioned in my previous video, I talked about the extra chapter "Since Then" that took place after The Final Act. It was made because of the Tsunami that happened in Japan many years ago. A long time ago, I also wrote a post saying if we continued to show our support for the official streams on VIZ Media's website and still showed interest in the series that they would make this into an episode. Back in 2018 Anime Boston it was hinted about the staff wanting to have Rumiko allowed them to make more anime if we continued to show interest. When we got ahold of the scans for the AniMage and AniMedia magazine scans we could confirm that they have been talking about a sequel since the ending of The Final Act.

In the InuYasha Special Chapter 559 "Since Then" Kagome was living in the feudal era with InuYasha for six months. We have a half year time skip. Life in the Feudal Era so far had been peaceful. InuYasha and Miroku were tracking minor youkai that was released from a seal by a landslide, and discover that the demon actually was originally sealed away by Kikyou shortly before she met InuYasha. So we can say over atleast 53 years ago. The youkai is called Ne no Kubi or Root Head in the official VIZ Media subtitles for the trailer - and it was seeking the Shikon no Tama, not realizing it is already destroyed due to being sealed away for so long. Ne no Kubi attacks Kagome, because she clearly looks like Kikyou, but she wounds its head with a sacred arrow and InuYasha kills it with Tessaiga. During it Sesshoumaru appears to protect the village because Rin is there. We can see shots during the trailer that all take place here from this chapter.

For all those Westerners out their that use the term "canon", yes Yashahime is in Fact "canon" to the original timeline continuity. Rumiko Takahashi has been confirmed to have written the foundation story for Yashahime, and has been working closely over the scripts with Sumisawa. It is officially licensed and in no where near being a fanfiction. Remember, canon was a term that was invented by Westeners because of Christianity. Regardless, this sequel is happening. I have so much to talk about this new trailer that it feels like even after I'm done with this video, more ideas are still going to keep popping up in my head.

Towa is seen fighting another school student. She's known for her martial arts. She kicks this guy in the head. She says "You know, you should take my advice and let me go." Talking about her possible abduction. "Things won't be so hot when my friends get here." I think she's talking to the man in the Feudal Era from the first trailer. That's when Moroha and Setsuna break into save Towa. Then it's talking about Root Head from Chapter 559. However says "Root Head was a demon slain by InuYasha and his friends." I don't know if she's talking after it was slain. But Root Head was in fact originally sealed by Kikyou before she met InuYasha. A possible change or retcon from the Manga considering Rumiko's involvement in this. Sesshoumaru is then saying the same lines that he says from the manga "Root head... A worthless piece of vermin. Except..." If we reference the manga he's actually supposed to say Except, and then "It's too persistent."

Root Head gained the powers of the Tree of Ages (Goshinboku). This is the same Goshiboku that InuYasha was sealed on, seeing the arrow mark. If we slow down this footage you can tell that Roothead is growing in the roots of the Goshinboku. It created a passage from the Feudal Era to present day. Sucked through that passage, Towa was torn from her twin sister, Setsuna, and thrown into the present day.

But I think that is talking about AFTER Root head was slain again from it reawakening after the landslide. My guess is that IF everything does continue on the manga like normal from Chapter 559. But during the time it was reawakened it had already made a portal through a tree tunnel like it describes as in Towa's translated description that a fire happens, and everyone scatters. Even during the livestream from Otakon Kaoru Wada mentioned the fire. Towa goes to escape from the fire and finds that specific portal that sends her to the modern era. Unless they want to push the time skip further than 6 months allowing them time to have the kids. Towa is in Reiwa period, that means it's either 2019 or further making it overall a 20 year time skip since chapter 559. I expect that they have kids in a six year time skip that would make sense since they are all 14. The Tree tunnel is described in Towa's description, that means that we pretty much have a second Well. Considering the well was already made from the same type of wood as the Goshinboku was as it was talked about in the first movie. Now imagine if we had three different eras or even that certain events had changed because of this.

Here we see an Adult Souta and 4 year old Towa when he found her in the Modern Era. They're talking in front of the Sacred Tree. Towa's robe pattern is clearly based on Sesshoumaru's belt.

It looks like Souta wanted to pat Towa on the head, but Towa was scared - Then we see Towa brushing her teeth and Souta's daughter. Who looks strikingly similiar to Hitomi. I hope he married her.

Ten years have passed since the Higurashi family took Towa in. It shows Towa talking to Souta's Daughter in front of the tree. In the next shot, she's wiping the blade from her sword. In the narration Towa says "Don't worry! I can handle this." It shows Towa looking up from the original Trailer, where she's abducted. Wearing that patterned robe and the hint of the Lily flowers in the background. She says "Your big sister's pretty strong!" I think she's talking to Souta's daughter as if referencing herself. She picks up her History book and winks. Now it shows Setsuna and Moroha fighting by a waterfall. This is definitely reminding me of some InuYasha VS Sesshoumaru scenes from the past. "My name is Setsuna. I have nothing more to tell you..." "And the reason you die here." Setsuna's eye glows similar to InuYasha's when they found out he had the black pearl inside his right eye that lead to the Inu no Taishou's grave. Everyone has been trying to figure out if there is a special thing showing in her eye. I'm not so sure but I gave it a try as well. I looked at a few pictures of the gravesite and this one seemed to be the best one.

Though I am skeptical of this. Hosenki's son explained it would take roughly 100 years for him to master the process of making one. When InuYasha had returned to his father's grave for the second time, the pearl was somehow able to give him visions of his troubled past as a way to warn him that he wasn't supposed to be there a second time. Now if we think about it, remember how Setsuna has problems with her memories? Maybe in this moment it is a black pearl, and it's showing her flashbacks helping her remember or perhaps she was given an imperfect black pearl that is causing her memory loss.

Moroha is seen sitting down picking her ear. "With this rouge, I become Beniyasha, Destroyer of Lands!" Moroha has her bow, a good nod to her mother Kagome. "Tremble before the bloodthirstydawn!" Now the rouge doesn't always have to mean lipstick, it depends on the context on which it's taken. The rouge could also mean red, the red clothing that she's wearing. If she is going to be wearing lipstick, it would be cool if they somehow were able to magically bring back the lipstick that was once Izayoi's that was given to Kikyou. I know it was destroyed, but you never know. I like the idea of her having InuYasha and Kagome's locket too from the second movie. In the past I always had the idea of their child having that locket. Maybe she's heard about InuYasha as a story or legend, and is calling him "Beniyasha". So she's pretending to be him in a way, along with the bow on her head representing ears like him.

It shows Towa in the modern era, fighting some guys. She's wearing something on trapped onto her back. Could it be her sword, or something else? My wife mentioned that in Japan, open carry of swords is legal.  So I went to double check.

Yes, this is definitely got to be her sword and that she is wearing a sword bag. It has yellow tassels.

I also noticed that there is a symbol at the bottom of her sword bag. It looks like it could be a pinwheel or the Kagome symbol. There are two different versions of the Kagome symbol. 6 pointed and 8 pointed.

"A new wind blows into the Feudal Era." We can see the Dragon symbol on Moroha's sword even more closely. The Dragon is wrapped around an arrow. During the Otakon Live stream Kaoru Wada stated that all three of the girls are the half-demon princesses. Meaning that Moroha would still be called a half-demon regardless of having less demon blood percentage especially during that era. "The Half Demon Princesses are here!"  Moroha is fighting a Mistress Centipede. Is this the same Mistress Centipede from the beginning of InuYasha, that corpse was already in the well? If we remember, Sango has fought Centipede demons before but they weren't a Mistress Centipede. She would be killed for the third time. The Mistress Centipede shown in the trailer has three eyes, while the original one has two.

It shows Hisui, Sango and Miroku's son in his demon slayer armor while riding Kirara. Throwing Hiraikotsu! One thing that stood out to me was the prayer beads around his left arm.

I don't think he has Wind Tunnel but it seems to be a reference to his father Miroku. Considering Miroku has given Kagome prayer beads to wear before. Maybe even Hisui has spiritual powers as well. It also appears that he has Sango's sword as well!

Kohaku, all grown up and he's exactly how I imagined him. It seems like he has a scar on his nose. Maybe it's from wearing his demon slayer mask or from getting cut in a battle. He has the weapon he gets from Toutousai in the last episode of the Final Act. Moroha and Setsuna are battling. Could this be the same waterfall that Kikyou bathed at?

Moroha and Setsuna running off, Towa watching them. A guy knocked out in the background, Spider Lily pattern on the backwall, and a knocked out guy next to where the wall was bashed in. Just like how it was in the first trailer we were shown on the Otakon Live Stream.

Finally, Moroha is using her bow and yes she indeed has priestess spiritual powers like Kagome does! It looks like she's still fighting Mistress Centipede as you can see in the background. The attack is called "Heavenly Arrow Barrage". Similar name to InuYasha's Adamant Barrage.

It shows Setsuna using her Naginata. The Naginata is the weapon that can control wind as stated in her profile when her colors were announced! Much like InuYasha's Bakuryuha, or Kouga's Cyclone. It also reminds me of Sesshoumaru when he was fighting InuYasha inside the Black Pearl at the Inu No Taishou's Grave.

Feudal Fairytale - Yashahime Princess Half-Demon Towa takes out her sword and charges while saying "Setsuna! I'll save you!" Yashahime - Coming this October. October 3rd 2020

When we look at the image that came with the announcement. A few things caught my eye, Kagome and Rin are not seen in the picture. Sesshoumaru and InuYasha are both by the Sacred Tree. Speculating that maybe they're trapped in another dimension, or between times since Root Head was able to take the Goshinboku's power. I wonder if something like this happens, could this give Kagome the ability to not age? I'm still for my theory that she shouldn't age because she wasn't born yet, the same way her items were unaffected by Kaguya in the second movie when she froze time. People think InuYasha is holding something, no that is his forelocks and the shading on the tree. No, there is no secret image in Towa's blue sword attack. But hey we get a better look at Hisui's prayer beads on his arm.

There is a new character, everyone speculates to be Shippou and unsure of the character's gender. Looking at the HD picture.

The character has green eyes, dark red hair and purple eyeshadow. It sort of reminds me of Shippou or Ayame's possible child with Kouga. I would have said it was Takechiyo in a human form since Raccoons and Foxes are known to shape shift. But Takechiyo has blue eyes. It's not Jinenji, has blue eyes - Though I think it could be a new character. Could be boy or girl. Determining their gender is something I'm on the fence about atleast by the physical sight of it. Their body seems flat and rugged with torn sleeves, but wearing makeup. There's alot of males who wear makeup in InuYasha. Their attire also seems to be the kind that is most commonly worn by males. But Towa also is another character that dresses male. This character clearly has a weapon. More than likely a sword. Something that's interesting about this picture is that Towa's sword is shaped like Tessaiga in the picture when she's doing her special attack. It zig zags upward like a staircase into the sky - as if representing time passed. You notice it when you realize the other characters are actually not standing on something.

Seems like we are all looking forward to October 3rd for the airing of Yashahime.  If you want to see more posts about Official InuYasha News, Artworks, Merchandise, my own personal views and analysis on the series - Be sure to subscribe.

#inuyasha #yashahime #anime #manga #hanyou no yashahime #yashahime princess half demon

[dippedanddripped]

In the brief history of street culture, Hitomi Yokoyama is one of its most prominent hidden figures. If Hiroshi Fujiwara is considered the de facto “godfather of Japanese streetwear,” Yokoyama is most definitely its godmother. A contemporary of UNDERCOVER founder Jun Takahashi and Tomoaki “NIGO” Nagao — who would go on to establish A Bathing Ape and Human Made — Yokoyama was at the forefront of Tokyo’s Ura-Harajuku movement that gave rise to Japan’s cadre of covetable brands like WTAPS, Neighborhood, Bounty Hunter, and countless others.

As a teenager growing up in Tokyo’s Yotsuya neighborhood, Yokoyama became fixated with the British punk bands she saw on TV and heard on the radio. “I was listening to The Clash, Adam & The Ants, and The Sex Pistols,” she says. “The first thing in fashion I got really excited about was Malcolm McLaren and Vivienne Westwood’s clothing I saw Johnny Rotten wearing.”

It was through seminal Japanese magazines like Takarajima that she got put onto McLaren and Westwood’s Seditionaries clothing line and SEX shop in World’s End. She also discovered “Last Orgy,” an influential Takarajima column started by Hiroshi Fujiwara. It was basically a cheat sheet of what brands, bands, and trends were about to blow up.

But Yokoyama didn’t just read about what was cool — she lived it, too, exploring Tokyo’s underground nightlife at clubs like Picasso and Nabaron, which played everything from ska, rockabilly, and reggae to the hottest bands in London at the time. The scene got her close to Jun Takahashi and future Bounty Hunter founder Hikaru Iwanaga, who played in a tribute band called the Tokyo Sex Pistols, and NIGO, who sometimes stepped in as their drummer. Yokoyama remembers how the now-icons dressed at the time, recalling Takahashi as a would-be Johnny Rotten and Iwanaga as a stand-in for Sid Vicious.

“This kind of place was more like a culture school than just a club,” she says. It’s where she learned how to dress and met like-minded people who shared the same passions, like Vivienne Westwood and punk. “It was a real life social network in the days before the internet.”

NIGO and Takahashi had met at Tokyo’s prestigious Bunka Fashion College, the same institution that produced Yohji Yamamoto and Junya Watanabe. Yokoyama worked at a hair school in the neighborhood called Ciao Bambina, which doubled as a community hub for area youth, since their parents weren’t allowed in. NIGO got his hair cut there, and Yokoyama admits she used to steal a product called Rock Gel, a hard hair gel ideal for Takahashi’s avant-garde punk hairstyles.

At the same time, Takahashi and NIGO were becoming a dynamic duo in their own right. They had taken the reins of Fujiwara’s “Last Orgy” column and brought it to Popeye magazine (the newer, younger answer to Takarajima) under the moniker “Last Orgy 2.” It was clear they had the juice now, so under Fujiwara’s mentorship they turned their platform into a first-of-its-kind retail concept: NOWHERE.

Before that store opened, Yokoyama remembers the small network of streets as a neighborhood with hidden gems interspersed throughout. There was Hitomi Okawa’s MILK, Nobuhiko Kitamura’s Hysteric Glamour, and punk boutique A Store Robot, which Yokoyama frequented. But NOWHERE began the evolution of Harajuku’s backstreets into an in-the-know shopping destination. The shop launched both Takahashi’s UNDERCOVER and NIGO’s A Bathing Ape.

“Jun started making clothes on a domestic sewing machine, making one-off items. He was a genius at an early age,” remembers Yokoyama. “Then you had NIGO, who was a massive expert on vintage clothing and had great style.”

The Ura-Harajuku scene and the brands to emerge from it would expand from a small underground community to a huge global movement, and Yokoyama would play a crucial part in that transition when she moved to London in 1993.

“My plan was to study English and go to make up school,” she explains. “One day, I was walking down the street and I met a guy called Barnzley. He recognized my Seditionaries clothes and was very curious about my UNDERCOVER clothes.”

Fate made it so that one of the first people Yokoyama met in London was one of its most well-connected people. Simon “Barnzley” Armitage is a fixture of London’s club scene and its underground subculture. As a shop guy for Vivienne Westwood and Malcolm McLaren, he took advantage of the store’s screen printer to make bootleg Chanel T-shirts before getting into deconstructing clothes. He’s donned many hats and worked on numerous projects throughout the years, including co-founding the label A Child of the Jago with Joe Corre — Westwood and McLaren’s punk progeny.

Yokoyama’s Seditionaries fit caught his eye immediately, and they connected over a shared love of clothes, music, and punk culture. Yokoyama was still looking for a room, and Barnzley actually had an opening at his flat, recently vacated by Spanish artist Luciana Martinez de la Rosa.

“I think Hitomi was quite happy to move into a flat full of cool clothes, art, and records,” recalls Barnzley. “Maybe not so happy I kept her up all night with loud music, girls, insane pop stars, and messy graffiti artists.”

Yokoyama admits she didn’t get much sleep thanks to the loud music, but describes the London she found as “like Disneyland.” With Barnzley as her cultural sherpa, she rubbed shoulders with Joe Corre, Nellee Hooper of The Wild Bunch, Paul Cook of The Sex Pistols, Primal Scream’s Bobby Gillespie, and Paul Simonon of The Clash. Many of the figures she previously only read about, that seemed worlds away in the translated pages of Japanese glossies, now became face-to-face acquaintances.

“Everybody seemed to be a pop star, artist or model,” she says. “It was nonstop ’til 4 a.m. most nights.”

In addition to putting Yokoyama on to London’s hippest clubs and clothing stores, Barnzley also introduced her to Cuts, an underground hair salon that was pretty much the city’s answer to Tokyo’s Ciao Bambina. Founded by the late James Lebon, younger brother of fashion photographer Mark Lebon, he created a template for a new breed of alternative hairdressers. Inspired by the DIY ethos of punk, Cuts was the first in a new type of independent hairdressers whose multi-ethnic aesthetic chimed with that of Ray Petri’s wabi-sabi Buffalo style.

“It was a hub for street fashion as there were shoots for i-D and The Face. It was also where you’d find out information on clubs, clothes, and all that culture,” Yokoyama says. “Working there was more like a very fashionable club than a hairdresser. It was my introduction to fashionable London.”

International Stüssy Tribe member Michael Kopelman was also a Cuts regular. In 1989, he founded Gimme 5 as a distribution company, spreading the gospel of Japanese streetwear by introducing brands like Neighborhood, UNDERCOVER, visvim, BAPE, and Hiroshi Fujiwara’s GOODENOUGH into ahead-of-the-game boutiques like Hit and Run (later renamed The Hideout). By 1995, Kopelman and Yokoyama’s mutual appreciation had grown to the point where he felt comfortable enough offering her a job. “We were both into similar things from Japan. Nobody else in London was,” he says succinctly.

With no previous background in art (and never even having worked on a computer before), Yokoyama’s strong sensibilities informed what would become Gimme 5’s aesthetic. Inspired by everything from Eames chairs, old record sleeves, and comic books, she taught herself to use programs like Illustrator, eventually designing a Gimme 5 clothing logo cribbed from Jack Kirby’s Fantastic Four comics. Her work went on to impress her friends back in Japan, leading to graphic work for UNDERCOVER, A Bathing Ape, Real Mad Hectic, and Let It Ride as well as New York brands like aNYthing.

By the mid-2000s, Yokoyama received a major profile boost when she designed a purple and maroon Air Stab for Nike’s sought-after 2006 Air-U-Breathe pack. She was inspired by the lightness of the sneaker, as well as images of rabbits and cats jumping around in her head, leading to the striking graphic on the heel she describes as “paws with eyes.” She followed it up in 2008 with a mostly gray Air Max 90 Current created under Nike’s Co-Lab program for the Beijing Olympics.

Despite her impressive pedigree, Hitomi Yokoyama’s work seems largely swept under the rug in the story of streetwear. Perhaps that’s because she’s always gone under the pseudonym “HIT.” It was a conscious decision on her part, creating an air of mystery around this cryptic, Japanese designer in the vein of a SK8THING or SKOLOCT.

“I started working with all these men’s brands and they wanted to the put the designer’s name on the shirts,” she says. “There weren’t many females around at the time, and I was worried that people from that scene would not take me seriously if they knew I was female. So with the alias HIT, I would not be discriminated against; it’s genderless.”

Yokoyama’s most prolific collabs aren’t just with products, but people. Through her friendships in Tokyo and London, she helped foster long-lasting relationships, like linking Mo Wax impresario James Lavelle and NYC graffiti writer Stash with NIGO. She also became especially close with the late, legendary stylist Judy Blame, who was the inspiration for Dior’s Fall/Winter 2020 men’s collection. Yokoyama is in the final stages of her own Judy Blame tribute, a brand called Available Nowhere that uses Blame’s archive on a series of T-shirts, jackets, shirts, and scarves.

Whatever she’s doing, Hitomi Yokoyama is eternally grateful for the chances London gave her as a wide-eyed young woman from Tokyo. She admits that if things hadn’t worked out abroad, she’d have probably moved back to Tokyo and worked at a Shinjuku sushi restaurant. Now she wants to pay that kindness forward to the next generation.

“I hope to work with artists, designers, and interesting people who might be not well-known,” she says. “I want to help young people with lots of energy learn from old people with experience.”

Words: Andy Thomas

#undercover #james lavelle #nigo #a bathing ape #bathing ape #Hitomi Yokoyama #streetwear designers #women in streetwear #stash #aNYthing #real mad hectic #urbanwear blog

[shiyonasan]

After several days, I've finished the first anime for Inuyasha. 167 episodes is a lot, but it didn't feel as long as it is. Here are my thoughts:

I'm not going to judge the main plot of the series too much for now, because the second series, The Final Act, wraps up everything in Inuyasha. I'll give my thoughts on the main plot after I finish The Final Act. 

I will start off by saying that I do think, in the first 50-60 episodes, the story feels a bit disjointed. There's times where the story seems to be a bit unfocused on what is going on.

Now, granted, some of those episodes introduce major characters, and those episodes are fine, but there's a lot of random "fight this demon today" type of episodes that almost feel...unnecessary. It provides opportunity for the group to gain more camaraderie, but that's about it. 

To me, 25% of this first anime could've been cut out, with most of that coming from the first half of the series. I'm okay with fighting demons to save a village or whatnot, but I'd prefer a better sense of progression in the story in doing so.

Now, that being said, I am a bit mixed on the storytelling in this series, because although I do think Inuyasha early on feels disjointed and unfocused at times, I do commend Rumiko Takahashi for trying something different in a shonen series. 

It's different from "fight this bad guy for an arc, and then move on to next bad guy for another arc" type of shonen series storytelling, which I think is good. While there is the Band of Seven/Mt Hakurei arc, pretty much everything else isn't bound to an arc specifically.

I feel like I'd have to watch this series again to fully appreciate the story as it progresses. That being said, I feel like it could've been done better. I feel like Inuyasha was Rumiko Takahashi figuring out how to write a shonen series, and she got better over time. 

One thing that is written well is the characters. Of the four major Rumiko Takahashi series that I've watched so far (Urusei Yatsura, Maison Ikkoku, Ranma 1/2, Inuyasha), I enjoyed this group of major characters the most.

Every protagonist feels important to the story. Inuyasha and Kagome are good male and female lead characters with strong and hard-headed attitudes, Miroku is a good 3 dimensional character who, while he does have a bit too much interest in women, still knows when to be serious... 

...and Sango is a complex character with a tragic backstory who also is strong and has a big heart. Even Shippo and Kirara feel important as they are not only given their own episodes, but they can fight when they can and when necessary.

Myoga and Totosai are great humorous old men characters, Kaede is a great old woman character who is important to the story, and Koga, while he has a not so good introduction imo, becomes slightly better over time and doesn't overstay his welcome. He appears just enough.

While I'm not super intrigued by Naraku's character, he is a pretty good bad guy. His lackies I feel are stronger characters, who are often risen from the dead or come into being from his own person.        

Kagura, in particular, I like because of her slowly revealing her intent to betray Naraku. Kohaku, who is forced to stay under Naraku's control, is also fascinating being that he's Sango's little brother who is regretful over his alliance.                                             

I like Sesshomaru’s neutral character. I feel like he's Sephiroth if Sephiroth wasn't completely bad and had an imp demon and little girl following him around all the time.

I won't delve deeper into who the characters are, but I'll just say that the cast of major characters is well written, developed over time, and fascinating to watch on screen. Props to Rumiko Takahashi for making a great cast of characters for Inuyasha.

The biggest thing I can praise Inuyasha for is it's animation. Sunrise did an outstanding job on the cel animation and digital animation work for this series. If there is one reason I'd recommend this series, it's for it's animation. 

I didn't know how well I'd like the digital animation, but I can say that the digital animation is some of the prettiest looking artwork and animation I've seen in a TV anime series, from the defined character artwork to the aesthetically colorful landscape artwork.

The cel animation is super pretty too for the same reasons. There's only a few episodes that look a bit meh: I would say about 95% of the episodes are super pleasing to the eyes. 

OST for this series is pretty good, though there is one track that I feel is a bit overused and distracting when it does play. For those familiar with the series, it's the one that's meant to be creepy with the low and quiet strumming violins accompanied by the wood instrument.

Only other things I could say about this series is that the voice acting is well done (especially from Kagome's voice actress) and the opening and ending songs are pretty decent (though there are pretty to look at). 

Overall I do have mixed feelings on this series because I do love the animation and characters, but I think the plot is a bit lacking and unfocused at times. The plot's certainly not bad, but I think it could be better. However, I enjoyed it for what it is: action packed and fun.

My rating for this first Inuyasha anime series: 8.5/10. A solid B. 

Also, Sango is best character in Inuyasha. Convince me otherwise.

#shiyo's inuyasha watch-through

[rieshon]

Spring 2018 Preview

I can’t believe a new season starts in a week already... heres the shows.

1. Comic Girls: KIRARA ANIME BOIS. Do I even need to say more than that? The girls look absolutely adorable, the animation looks on point, and although the director is a debutante he's being backed up by an impressive quartet of writers including Takahashi Natsuko, Yokote Michiko, Hanada Jukki and Machida Touko. Oh yeah, it's also got a bunch of hot channees in addition to the cute schoolgirls. You can't go wrong with this one.

2. Amanchu! ~Advance~: Satojun is back at it again with the silly hiragana subtitles for sequels. The masters of healing are back again for a sequel to what was one of my favorite shows of 2016. More Teko, more of that sexy Itou Shizuka-voiced teacher, and more relaxing feels. This is exactly what we need to fill the Yurucamp-shaped holes in our hearts.

3. Alice or Alice: There are a lot of things that make me excited about this show. Obviously the cast is one: Ayaneru plays the main character, and we got Natsunee and Oonishi in there too. The director is Kobayashi Kousuke, an alumnus of the Pretty Rhythm series who was very heavily involved in Pripara, which you may know is the best anime ever made. And then there's the aesthetic: everything from the character designs to the title logo make this look and feel like a harem anime from 15 or so years ago, which is absolutely my jam. Pretty hyped for this one.

4. Sword Art Online Alternative Gungale Online: One of the weirder things to happen over the past year-ish is that I've become an unabashed SAO fanboy. The shows are just good, y'all. So you can imagine how I feel about a new show set in the SAO universe written by the author of Kino no Tabi, a show I just put in my top five of the last year, and with characters by Kuroboshi Kouhaku (also of Kino) who is the utmost hotness right now. Hopefully this will be more than enough to tide us over while we wait for SAO3 to arrive.

5. Waka-Okami wa Shougakusei: This looks like a kids anime at first glance, and, well, it is. It's based on a series of popular children's books, but they've really gone all out with the production values based on the PVs (Madhouse producing) and it looks immensely charming. Some of the best anime are childrens' stories, so I'm quietly excited about this one.

6. Hinamatsuri: This is shaping up to be one of the weirder shows of the coming season, and it looks great. From the look of the PVs, feel. are going even more all-out than they usually do with the visuals, and it also looks genuinely funny. Plus it's got a cute loli. Should be good.

7. Ginga Eiyuu Densetsu Die Neue These: It's finally here. Obviously I've heard nothing but good things about the original series, but I'm never going to have the motivation to go back and watch something so old, long and difficult, so hopefully this new anime has got me covered. I'm sure there will be plenty of discourse about it; I just hope it's decent.

8. Tada-kun wa Koi wo Shinai: Somehow, we've still never gotten a sequel to the wonderful Gekkan Shoujo Nozaki-kun, but this show brings together the chief staff of that show for a new romantic comedy anime at Douga Koubou. With that pedigree (they even got the same guy who did the OP song for Nozaki) there's definitely reason to be optimistic about this one. Not to mention it's got cute gaijin girls and an imouto voiced by Inosuke.

9. PERSONA5 the Animation: I think I'm going to give up any ridiculous illusions I have of actually playing the game any time soon and just watch this. It's the only realistic way I'll get to see dat Kawakami-sensei and Takemi-sensei. You know I'm all about the channees right now, and man, does P5 have some good ass channees. The anime is actually being directed by Ishihama Masashi, the man who did Shinsekai Yori and literally hasn't done another TV anime since, so that's pretty exciting. Obviously, a lot Shinsekai Yori's success is because of the material adapted, but if you can make a masterpiece like that you've got to have some kind of talent.

10. Wotaku ni Koi wa Muzukashii: CUTE CHANNEE ALERT WEEWOO WEEWOO WEEWOO. I'm all up ons this. Is there anything better than cute OLs? ...Man, things sure have changed around here. Also, that title is just mean when it's literally an anime about otaku having romances. SOME OF US OUT HERE ARE LONELY

11. Last Period -Owarinaki Rasen no Monogatari-: Has there been a good social game anime yet? I guess Schoolgirl Strikers was alright, in that I actually managed to finish that one, but most of these turn out to be bad. I hope Last Period can be the one to buck the trend and be truly good, because I love the silly light-fantasy tone that it looks like it's going for. Wisemen for best girls. There's tons of cute girls with great designs (the one thing you can always count on social games for) and it'd be a shame for them to go to waste like so many before them.

12. Hisone to Masotan: I got really excited when I saw this because it looked like a cute anime about fighter planes. Instead it looks like it's a cute anime about fighter... dragons. What a ripoff. I wanted the planes. My aviation-nerd pouting aside I'm sure it will still be adorable JSDF propaganda. I just really wanted the planes.

13. Golden Kamuy: It's some kind of weird serendipity that I'm studying the Ainu for school this semester and now we get an anime explicitly about the Ainu. Period anime are pretty cool (the Russo-Japanese War isn't a setting explored in much visual media at all), the premise sounds cool, and I really like the look of the Ainu girl. Plus, how often do we get Ainu culture actually presented in anime? Remains to be seen how well it's done, but it's pretty neat.

14. Uma Musume Pretty Derby: Aw yeah. If only Jug was around to see the horse girls. I have no reason to doubt that this will be great fun, especially since it has the financial backing of Cygames, who have more money than God. Just hopefully we don’t have to see any of the cute girls get put down after breaking a leg.

15. Lostorage conflated WIXOSS: Somehow the WIXOSS anime series is still going. selector is still one of my favorite shows in recent memory, but Lostorage was complete spaghetti compared to it, so there's nowhere to go from here but up, right? This new series promises to bring back the characters from selector, which gives me mixed feelings. I don't want them to just play off nostalgia for the old show, but I'm also kinda excited to see Yuzuki and Tama again. I guess we'll see what happens. Maybe a new director will shake things up for the better.

16. 3D Kanojo Real Girl: Man, who wants a 3D girlfriend? Can your real life girlfriend be considered 3D if you're living in a 2D world? This stuff always leaves me conflicted. I'm down for some Serizawa Yuu-voiced heroine, and the always-capable Akao Deko is writing the screen adaptation, so it might be good.

17. Mahou Shoujo Ore: Oh god. I'm pretty sure I saw clippings from the manga of this a while back. It's a mahou shoujo where the girls transform into buff dudes in magical girl outfits for some reason. It can't be a coincidence that the protagonist is named "Uno" and is voiced by Oohashi Ayaka. If this show is even half as amazing as Fantasista Doll it'll be a great success.

18. A.I.C.O. Incarnation: There are a few Netflix-funded series this season but most of them don't look especially interesting. This one looks alright, but it's using the stupid Netflix bulk release model so I guess I'm waiting until April to start it despite all the episodes being out already. It looks like it could be a cool science fiction show, and I like the Naruko Hanaharu character designs.

19. LOST SONG: So this is that Suzuki Konomi promotional vehicle... From the PV, it doesn't look great, but I am a big fan of Konomin's singing so I guess I'll have to check out at least an episode. I just doubt her ability to act as well as she can sing.

20. Caligula: Strangely, this show does not seem to be about the son of Germanicus and Agrippina the Elder who ruled as Roman emperor from 37 to 41. I actually have no idea what it's about. Something about idols. But some of the character designs look pretty good, especially that blonde channee, so it's a maybe from me.

21. High School DxD HERO: It's baaaack. The show I watched three seasons of for Ayaneru that gave me almost no Ayaneru is back to continue to refuse to give me Ayaneru, probably. But hey, I like channees now anyway, so I may as well keep watching out of tradition if nothing else. I just hope Gaspar is like, actually in it this time...

22. Omae wa Mada Gunma wo Shiranai: This is an anime to promote Gunma... I guess? It definitely doesn't look like your typical local promotion anime... Apparently Gunma is a totalitarian state in this world. The green-haired girl played by Ucchii looks pretty good so I'll check it out.

23. Akkun to Kanojo: SUPER tsundere love comedy? Even regular tsundere is good. Unfortunately it's the dude who is tsundere in this one which isn't the thing I want. But the girls still look pretty cute so I'll definitely be giving it a look.

24. Mahou Shoujo Site: Uh oh, it's dark magical girls. There's nothing wrong with the concept per se but works like this often end up being grimdark for grimdark's sake (see: Mahou Shoujo Ikusei Keikaku) so it makes me worried. This one looks like someone tried to mix Madoka and Jigoku Shoujo. It should be good for a laugh if nothing else.

25. Kiratto Puri Chan: Well, here we are. This is what they killed Pripara for. So who did they get to succeed the comedic savant Moriwaki Makoto? Well, it's a guy without a whole lot of directorial experience: Hiroshi Ikehata. What he has directed have been some incredibly charming shows, including the underrated Akiba's Trip anime and Sore ga Seiyuu. The main writing credit goes to Hyoudou Kazuho, who has worked with Hiroshi on all of his directorial projects but doesn't have any especially interesting work to his name. The biggest chance this has to be even marginally worthy as a successor to Pripara is if they continue to draw on the extended family of Pretty series creators, like Pripara did to a large extent. With Moriwaki's steady hand removed, I don't have high hopes, but if they killed Pripara for a show that's not even decent I am going to be upset.

26. Aikatsu Friends!: So Stars is ending and a new generation of Aikatsu is here as well. I can't let this pass unnoticed because Kido-chan is pegged to be one of the new Aikatsu leads and I'm always thirsty for new Kido-chan anime. I didn't really like Stars, so I hope this new one is more on the silly side, like joji anime really should be.

27. Cutie Honey Universe: Rember Cutie Honey? I mean, I don't, but a lot of people do. Apparently it's the 50th anniversary of Nagai Gou's venerable battle girl series, so they're doing a revival of it. I really dig the neo-retro art style going on here, and the cast is absolutely star-studded (our current darling, Kurosawa Tomoyo, is included among the likes of Hanazawa Kana, Tamura Yukari, Horie Yui and Kugimiya Rie) so I just might check it out.

28. Steins;Gate Zero: I really don't know if I want to watch this. Steins;Gate wasn't the worst of the semicolon anime; in fact, the first half of the series was greatly enjoyable, but I don't think I need to retread the infamous "shooting of the moeblob" that led to the godawful second half. It's got Christina, I guess. I just really don't know if I can subject myself to Okabe again.

29. Megalobox: This looks technically amazing, I just don't know if I'm interested in it. Will probably wait to hear other people's opinions before I check it out, if I ever do.

30. Gegege no Kitarou: I don't think I'll actually watch this, but the latest version of the classic children's anime has been getting some attention because the character designs for the female characters are, how you say, Extremely Good. They're definitely good enough that I'm tempted to check it out. Dat Nekomusume...

31. Full Metal Panic! Invisible Victory: It really happened. I'm including this as the highest-profile show I definitely won't be watching. I haven't seen any of the other FMP anime, so it would be stupid to try and jump in here. The subtitle being abbreviated "IV" (for season 4) is very cute though.

I don’t know how to rank shorts so heres those:

Tachibanakan To Lie Anguru: It's time for another Yuri Hime anime! All you need to know about how hype I am for this show is the tagline: 'The harem manga protagonist is a girl!?' Tsuda Minami is once again going to have to be hard gay, this time with five different girls apparently. I'm especially looking forward to the Mikakoshi-voiced blonde. Unfortunately, being a Creators in Pack anime, it's a short...

Fumikiri Jikan: This is a five minute anime but I absolutely love the premise: girls wait at a train crossing. That's it. You gotta love manga and anime sometimes.

#season preview

[recentanimenews]

Three-Episode Test: Ink's Winter 2017

Welcome (back) to the Three Episode Test, where contributors give you the low-down on what they're watching from the current simulcast season and why.

Miss Kobayashi's Dragon Maid

Streaming on Crunchyroll In what turns out to be the ultimate consequence of beer (sake) goggles, office worker Kobayashi wakes up one morning and forgets a kindness she paid to a dragon in distress the previous night while stumbling through the woods. That creature, named Tohru, then shows up at Kobayashi’s door as she opens it to go to work, morphs into a cute maid (complete with horns and a tail), and moves in with Kobayashi. Hijinks ensue.

The whole “human saves creature, then creature returns to repay human in money/love” theme is a common one in Japanese folklore, but this series carries a way sillier tone than most of those folktales straight off the bat. Also, I’ve evidently got a thing for female drinkers in their thirties who work soul-draining jobs and have spherical heads. What can I say?

My interest in Miss Kobayashi’s Dragon Maid lies much more with the defeated malaise with which Kobayashi both walks through her daily life and confronts the reality of supernatural beings than any aspects of her newfound servant or her flying, tail-swinging friends (who also adopt the moé maid form factor as their default domestic countenance). However, I do love some of the choices made in-series regarding the art – specifically colors, framing, postures, and scale. (No pun intended, ‘cause, you know…dragons). This is my surprise long-form comedy of the season.

Fuuka

Streaming on Crunchyroll A sequel of sorts to Suzuka in that it focuses on the daughter of that title’s protagonist, Fuuka features the titular girl, an aimless high school student who loves music, and a boy (Yuu) who comes to be quite stricken by with her. Fuuka suddenly obsesses over starting a band after meeting the well-intentioned but hapless Yuu, who seems fated to accidentally stare at Fuuka’s panties. But those aren’t the only panties peeking out at Yuu; his sisters can never seem to find anything to wear (literally), and a long-separated childhood friend-turned-pop idol just so happens to suddenly give him a call, a visit, and a romantic conflict.

The first three minutes, let alone those that follow throughout the first three episodes, show exactly what this series is going to be. Even though I’m a sucker for a love triangle drama, overly detailed fanservice and the abundance of it (evidently a trademark of Kouji Seo, the original work’s manga-ka), literally shoved in viewers’ faces via a camera with zero sense of personal space and a leerer’s eye for a lens, severely detracts from what could be the series’ saving graces: Fuuka’s independence and flirty forthrightness; a slightly less-than-usual milquetoast male protagonist; and earnestly inspiring moments of clarity/awe. Other than the cliffhanger confrontation at the end of Episode 3, there’s far too little to entice me to watch this weekly or continue at all.

Interviews with Monster Girls

Streaming on Crunchyroll As a biology teacher, Tetsuo Takahashi takes a particular interest in the demi-humans – a vampire, a snow girl (yuki onna), a headless girl (dullahan), and a succubus – present at Shibasaki High. Not knowing too much about the daily lives of monster girls, Tetsuo decides to sit down with each and talk with them to gain a greater understanding of both his students and life as creatures not wholly human.

After my gag reflex to Monster Musume, I did not, in any way, ever see myself watching Interviews with Monster Girls (much less genuinely enjoying it). And while this show could easily be titled “Interviews with Mo(nst)é(r) Girls,” the setting, the girls’ ages, and the fact that they’re effectively minorities in a “normal” human school justify their design and demeanor. On top of that, and even though there’s a harem air regarding the male protagonist and the supporting female cast (all the students and even one of the teachers are in love with him to some degree), the series manages to avoid the outright lewd and capture both the humor and reminiscent sweetness inherent in (first) crushes and awkward situations. To that, there’s a great bit of subversion going on regarding the succubus being portrayed as a typical “glasses girl” in an effort to not appeal to a moé-seeking audience, and the detail given to the animation of the dullahan’s eyes, hands, and arms is probably the best thing about the series. All this makes for a good enough excuse to keep watching weekly.

Saga of Tanya the Evil

Streaming on Crunchyroll In 2013, a callous salaryman/axman gets shoved in front of a train by a disgruntled ex-employee, meets (a) god, and is reincarnated as a little girl (Tanya Degurechaff) in a Germany-like state during a WWI-like war wherein mages provide areal support for ground troops. Cursed by the god she meets and refuses to acknowledge as such (calling it “Being X” instead), Tanya is born with great magical potential but can only use it if she says a prayer first. This is the means by which Being X hopes to instill faith into the salaryman’s soul.

Saga of Tanya the Evil (a much better title than the original Youjo Senki in that it is much sillier) is everything my melodramatic teenage self would have loved. And honestly the outright internal resistance to organized religion or the concept of God in general is still something that strikes a chord with me. Older me likes the more subdued commentary, such as the admission from God in Episode 2 that “Administering seven billion people is already beyond my capacity” as delivered through a frozen-in-time salaryman vessel who’s tired and slumped over his own watch. Teenage me really just likes Tanya’s selfishness and wickedness and things that go boom. Also, the series is pretty much drawn to give excuses to make Tanya smile like a demon, and it’s a pretty great reason to watch. Her VA also really brings the character to life.

One Room

Streaming on Crunchyroll During this series comprised of less-than-four-minute, POV-based shorts, you're behind the eyes of a mute, university-aged male who gets a knock on his Tokyo apartment door one day. The person knocking turns out to be Hanasaka Yui, a young girl who has just moved into the adjacent apartment. The first, second, and third episodes are, respectively, dedicated to her introduction, her tutelage and going to a public bath, and her cooking and (more) tutelage – all in one room...your room. (Except the public bath…that takes place in a public bath.)

For the loneliness deterrent/masturbation aid it is meant to be to its target audience, this is a fine example of an anime that never needed to be made. My only real gripe with the show, keeping in mind its intended audience, is that it only mostly holds to first person perspective. That is to say that the camera, the show’s very premise, wanders whenever (and wherever) it feels like it. Each betrayal of the show’s mission statement is mostly to ogle Hanasaka from the rear or side (in cuts too quick to be anything other than third person) or her chest (from her own perspective). As is the case when Hanasaka enters an empty room at the beginning of Episode 2, sometimes the camera isn’t even employed for POV and instead simply serves to establish the setting. And while that example might make the case for the first person perspective to be from the room itself, that is obviously not the case; there are different locales after all, and differences in the height from which you, the viewer, look at this girl range from eyelevel to a god-like areal vantage of disapproval.

Yamishibai: Japanese Ghost Stories 4 (sequel)

Streaming on Crunchyroll Based on the kamishibai aesthetic, Yamishibai: Japanese Ghost Stories specializes in a specific type of scare in each and every season. The first season brings boo scares based on the art style’s uncanny valley effect and laudable storyboarding. The second season focuses on mental distress applied to metaphysical horror. And the highly contested third season, of which Jared and I also talk about at length, brings monster-based horror home in a wonderfully surprising frame story. So what does Season 4 offer so far?

To start, the fourth season of Yamishibai focuses on narration – a typical and prominent aspect of anime against which I usually (and still do) rail. I’ve mixed feelings about it here though. Vocal exposition falls in line with that of the previous seasons, but narration, which lasts the entirety of each tale, at once dilutes the visual execution while imparting inflections, an overall tone, and a pacing that lends to the aural ambience of the story itself. Did I mention that the narrator is a different VA, including a Noh master, in each episode? In another first, Season 4 integrates live action snippets. This simultaneously imparts a jarring otherworldliness and laughable juxtaposition. It’s not the best visual direction, especially given the hitherto held execution of the series, but it’s a strike at something new, and occasionally, even in the first few episodes, it works enough to keep curiosity alive.

Showa Genroku Rakugo Shinju: Descending Stories (sequel)

Streaming on Crunchyroll I’m admittedly cheating on this one since a prior review obligation to the first season made me wait to indulge in the second. In short: I’ve yet to see the requisite three episodes to talk about this sequel to my 2016 AOTY. But if you listen to the two-plus hour podcast I did with Jared, there’s obviously no way in hell I’d not watch the second season in its entirety. I’m invested in these characters and want to see where the story takes them and how it takes them there. Think of the possibilities inherent in the title's pun (pun intended)!

originally appeared on Ani-Gamers on January 28, 2017 at 5:00 PM.

By: Ink

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