#sucy and akko fusion

[its-lazy-sucy-posts]

Sucy and Akko's daughter...

Yet...I dunno what name would fit good on her,I was thinking about Luna but..still don't know

~

• Extra picture:

#lwa sucy #fanart #sucy little witch academia #sucy manbavaran #lwa akko #sucy x akko #akko x sucy #sucy lwa #akko little witch academia #Akko and sucy daughter #sucy and akko fusion

[cureblogging]

Highlights from these unearthed fic notes include:

The fusion girl is nicknamed "Bright Eyes" because Akko's stark red-brown eyes and Diana's icy blue ones, rather than blending into purple (which past me thought was boring), sort-of "cancelled" each other out into a golden yellow instead

Lotte and Barbara tried to come up with a mix of the two's names but they both were "ok no this feels weird these all sound like ship names" but Amanda comes in and is like "'sup Bright Eyes, here's a snack I stole from the pantry" and the nickname sticks.

A lot of these notes are just hypotheticals for how a person made up of both Akko's and Diana's memories would react to... existing like that, because from what I can tell past me didn't want Bright Eyes to be just the two of them, but rather her own person

Surprisingly, there's something here about the possibility of exploring some sort of body dysmorphia/dysphoria? The fusion doesn't like seeing herself in the mirror at all, partly because she feels like it would be a breach of privacy on both Diana and Akko, and partly because she doesn't recognize herself in her own reflection and that breaks her brain a little

There's an outline for a really heart-rending scene where Bright Eyes, testing her spellcasting skills, taps into both Diana's knowledge and control of magic and Akko's sheer creativity and showmanship and improvises a whole routine based on their memories of Chariot's magic show, but then she realizes it's something she can only do while they're merged together and it's a bit bittersweet

And yep, I can confirm that Amanda develops a crush on her (and Sucy has a field day laughing at her about it). It's too complicated though so a crush it stays.

But then plot happens. Chariot is desperately trying to figure out how to get her two girls back and contacts Croix about it, and since Croix can't come back yet she recommends a group of technomancy experts who did work tangential to hers

These end up being the villains of the story because they realize the fusion is being held together by a branch of the Yggdrasil running right through her and are like "oh shit we've been trying to find a way to fuck around with the tree all this time but the magic always escapes us. But this kid is just carrying a piece of the tree inside her. This is an opportunity of a lifetime" and decide to experiment on her a little before unfusing the two.

This is, obviously, unethical as all hell and does mess up Bright Eyes real bad, but fortunately Chariot and the girls manage to stop the bad guys and Croix (who looked a bit more into the technomancers and realized they're shady af) succeeds in making the "fission" machine do what it's supposed to. Akko and Diana are back. Absolutely wrecked, but alive. Bright Eyes is no more

there's nothing else beyond this point but I vaguely recall there being an epilogue about the emotional fallout of the adventure. Akko and Diana rediscovering themselves and their relationship, Amanda lowkey mourning Bright Eyes, stuff like that

Maybe there's something here, but I've been having a hard time working on my already ongoing WIPs so I'm throwing this out there as it is. And if it inspires anyone to pick this up and write something inspired by it, that's the best case scenario. Hell yeah

#babs' musings #little witch academia #lwa

[chariotdunord]

LWA but the girls are bands in Bandori and Akko's and Diana's bands are rivals

Sorry for the late response! I wanted to think about this carefully haha, but I love the idea.

For Akko’s band I imagine Akko on guitar, Lotte on vocals, Sucy on bass, Amanda on drums, Jasminka on keyboard, and Constanze on synth. Likely Akko and Lotte writes a lot of their lyrics together and Lotte makes the instrumental arrangement. I imagine a style that’s a fusion of Poppin’Party and Hello Happy World. They’re very casual and just like to have fun.

For Diana’s band it would be Diana on vocals, Hannah on guitar, Barbara on bass, Avery on drums and Mary on keyboard. Diana would probably write their songs and it would be a very Roselia-like sound. Their band is very serious and aims to be the best.

Lastly, I’m making a band for Chariot!! She will be on vocals and guitar, Croix on bass, Pisces on keyboard, and Marjolaine on drums. They were a professional band but they disbanded a few years ago due to a conflict between Chariot and Croix.

However, Chariot and Croix’s band inspired both Akko and Diana into making theirs. Maybe Chariot (or Ursula) would help them out occasionally? Maybe Chariot owns a live house, or is a talent scout, and maybe Croix now works as a producer.

That’s all the ideas I have for now! :)

#lwa #bandori #little witch academia #bang dream #aqours remaking maybe #ask

[entamewitchlulu]

so anyway i had my idea for my fusion academia kids as little witch academia kids but since i’m a fuckign yuya stan i want to do a different au with yuya as akko instead so like

Akko = Yuya

Sucy = still Yuuri

Lotte = probably Sayaka

Shiny Chariot/Professor Ursula = Odd-Eyes Pendulum/Zarc

Diana = Reiji

Amanda = Dennis

#lulu talks #yugioh arc v #little witch academia #tbu

[anishill-blog]

If the original Little Witch Academia was about finding inspiration within yourself, then The Enchanted Parade is about finding inspiration with your friends. While this is a pretty simple story, there is a lot of craft that went into it. So I am going to go through the film and comment on all the elements that make me love the series.

The movie begins with a cold opening of Akko, Lotte, and Sucy trying to perform fusion magic. However, Sucy and Akko can’t agree on what to put into the spell, which results in a giant mushroom terrorizing the classroom.

This cold opening communicates what the central conflict will be for the rest of the film, that there is discord between the main three characters. This cold opening establishes where the main characters are in their relationship at the begging of the film so it lets us observe how they grow as friends through the movie.

We then cut to Akko and her friends in the teacher’s office getting scolded for their various misdeeds. As punishment, they are told to put on a parade, something that Akko is excited until she finds out that the parade is meant to embarrass witches.

After which we are introduced to the new characters Amanda O’Neill, Jasminka Antonenko, and Constanze Braunschbank Albrechtsberger who from here on will be referred to as the trouble gang.

While meeting with the trouble gang, Akko is taking out her frustration on lotte’s pillow a small detail, but it signifies an important thing which is that Akko is not giving thought to how her actions affect her friends, which creates the discord between the group.

Akko gets the idea to remake the parade to one that celebrates magic.  Akko is excited about her idea but doesn’t really consult with her friends about what they want to do.  We then see Amanda instructing Akko and the others how to dance, it doesn’t go well.

Which cements the idea that Akko’s plans for the group is detached what is feasible for the group. Diana then arrives to lampoon Akko where there is some clever manipulation of the sizes of the characters to show the changing power dynamics in the conversation. 

Later Lotte begins to worry that Akko’s plan won’t be able to work so takes out a scroll that’s been past down in her family for generations. Akko barges into the room to see what the manuscript is an accidently tares it, with prompts Lotte to give the best-animated reaction I’ve seen, where we see the initial shock a moment of silence and then hot red anger.

Lotte is upset at Akko and Akko is frustrated that Lotte won’t speak her mind. When Sucy tries to clear things Akko lashes out at Sucy and soon finds her self without her closest friends. What Little Witch is trying to communicate with this plot point when our passion becomes too detached from reality, it can lead to problems with others. We then cut to Lotte describing how whenever she would feel down that the spirits would always put on a performance for her to cheer her up. This might seem like a throw-away line, but it actually clues us into the whole theme of Litte Witch Academia, which is that great art is important to motivate and cheer people up. Grate pieces of art like Little Witch, are important to help people through tough times or inspire them to work harder.

  Akko comes to this realization when she remembers why she decided to become a witch in the first place. She wanted to inspire people the way Chariot inspired her, and she finds new inspiration to continue with her vision for the parade. And Akko gets to work she puts in serious effort by herself, researching, practicing with fireworks and dance moves. I really appreciate this part of the movie because it tells you that it is not enough to be inspired to do something great, you have to work hard. She also scales down the project into a parade float which reinforces the premise that your dreams and ideas need to have some grounding in reality for them to work. But even with all of her hard work, she still needs help as exemplified when the trouble gang helps her finish building the float.

Transition to the night of the parade and Lotte and Sucy are still not there despite Akko inviting them to be a part of the show. The parade has to start, and it goes great until a magical anomaly causes an ancient giant to reawaken. Panic almost brakes out, but Akko’s teacher manages to calm the crowd down by stating its all part of the show. We are treated to more of Trigger’s kinetic animation style. With the Witches flying to avoid various monsters.

And then at the moment where almost everything seems lost, Lotte and Sucy sweep in to save Akko. Then in this weird meta moment is when Akko’s teacher announces that this is the climax. With Lotte, Sucy, and Akko can fire and even more powerful version of the shiny arc which puts the giant to sleep.

Afterward, they share a laugh as all discord between them is gone.

Some concluding thoughts. First is that I wonder if there is a deeper meaning to tricking the audience in the film that the final confrontation is all part of the witches’ show. Is the audience on screen suppose to represent what the director wants the audience of Little Witch to be, cheering on the witches in the show as they fight the giant? I think what the director wanted was to inspire the same feeling with the audience of Little Witch Academia as Akko and her friends instilled in the audience of the enchanted parade. Second the I think the theme inspiration expertly done. In the original Little Witch Academia, we saw how someone can find inspiration within themselves, in the enchanted parade, we saw how inspired dreams need to have reality checks, and that is where friends come in. Friends also can allow you to achieve greater goals that you could have done by yourself, which is represented by the upgraded version of the shiny arc that Akko was only able to do because of her friends.

  So those are all my thoughts on the enchanted parade now it is onto the tv series.

BAD REVIEW: Little Witch Academia – The Enchanted Parade If the original Little Witch Academia was about finding inspiration within yourself, then The Enchanted Parade is about finding inspiration with your friends.

#Anime #Little Witch Academia #review

[skywardsoul]

Okay so expanding on my previous Little Witch Academia X My Hero Academia fusion idea...

Akko + Deku: besides them both being the main character, they both also hold a kind of unwavering optimism despite the huge obstacles in front of them. Akko is definitely more outgoing and boisterous then Deku, while Deku is way more detail orientated and observant. Creating a main character that finds a medium between these traits would actually be really fun/Challenging and it kinda has me excited. 

Lotte + Uraraka:  I think Lotte’s kind and soft spoken nature combines just to well with the supportive Uraraka. That being said, Uraraka’s more firey side that we see during the sports tournament would bring a more driven and less timid edge to the character.

Sucy + Tsuyu: Sucy and Tsu fit so well together it’s not even funny. Both are more on the quiet side, never being too loud or boisterous. Both are also never afraid to say exactly what they are thinking. Combine this with the fact that both also fall on the stranger side of things, with a weird mushroom obsession on one side and frog-like tendencies on the other, and you have a near perfect match. I think their combo character would be very fun to write and would be a queen of brutal honesty and quips

I have tons of more ideas of who would fit with who but i thought I would just share the main three to start. I’m actually excited to start writing for this idea, so look out for chapter one in the near future!

#little witch academia #my hero academia #alec talks #alec writes #also send me an ask if you have any ideas you wanna share #boku no hero academia

[rieshon]

Best of 2017

This was almost a weak year for anime, but then the Fall season happened. Apparently anime was just saving all their best for last in 2017.

10: Seikai Suru Kado ∥ Toei Animation ∥ Dir. Watanabe Masaki: This may be a surprise inclusion, given that Kado was admittedly one of the most hideous-looking shows of the year, but in a post-Kemono Friends world, anything is possible. Looks aside, Kado does the remarkable thing of giving us actual science fiction in an anime: you know, cerebral, philosophical, and trying to raise questions about our own society through the lens of the fantastic. It definitely has flaws, but there aren't many anime I've watched that feel as much like a good SF novel as this one does.

9: NEW GAME!! ∥ Douga Koubou ∥ Dir. Fujiwara Yoshiyuki: Here's a more conventional choice. You know I love Zoi-chan, and her second season was everything it should have been. We have the great character development of Aoba coming into her own as a designer, Nenecchi being the world's most adorable beginning programmer, and a genuinely moving ending with Kou-chan setting out on her own. Plus it adds some adorable new girls, and the cuteness delivered by Douga Koubros is on point as always. Wako-chan dabes!

8: Gabriel Dropout ∥ Douga Koubou ∥ Dir. Oota Masahiko: You didn't think the Comedy God wouldn't find his way on here, did you? Oota Masahiko had a two year absence from my Best of the Year lists, but now he clocks in for the fourth time with the eminently enjoyable Gabriel Dropout. As you might expect, this show has a feel similar to the original Yuruyuri: it's super comfy, but also hilarious. Comic foil Satanya was easily one of the best girls of the year.

7: Little Witch Academia ∥ TRIGGER ∥ Dir. Yoshinari You: Some will probably think I have LWA a little low... It's definitely a masterpiece of design and, at times, animation, but I felt like the overall plot dragged a little. Some individual episodes were brilliant, though, like the one where Akko travels inside Sucy's brain, the labor strike episode which gave us glorious Comrade Akko, or the robot episode aka Gurren Lagann 2. The big plot about the kotonoha and the evil Elon Musk, on the other hand, I never really got that invested into, although Shiny Chariot is definitely a babe. Still, it's got all those great themes about believing in yourself that are so genuine and earnest that you can't help but love it.

6: Shuumatsu Nani Shitemasuka? Isogashii Desuka? Sukutte Moratte Iidesuka? ∥ C2C/Satelight ∥ Dir. Wada Junichi: I'm totally biased towards this series, having read the books, but I do think it's a really good anime in its own right. Kutori's tragic story is told with the utmost care and even though they only adapted three of the five novels it still turns out as a complete and satisfying story unto itself. The feels are all over, especially thanks in no small part to a beautiful score (including several vocal pieces) by Katou Tatsuya that really ties the show together tonally. I'd really kill for a second season.

5: Youjo Senki ∥ Nut ∥ Dir. Uemura Yutaka: So, I almost feel guilty putting this show on here because it's definitely the hardest anime I've ever watched raw (Monogatari shows included) and I still feel like some of it may have gone over my head. But even my dumb ass knows enough to tell this is one of the smartest shows of the year, a study of man's tendency towards war as seen through the eyes of a little girl who embodies the doctrine of "the ends justify the means." Yuuki Aoi turns in probably the best performance of her career as Tanya who is definitely one of the most memorable characters of the year, even if Nazis think she's supposed to be a "badass" you're meant to root for. This is another one that desperately needs a second season.

4: Kino no Tabi -the Beautiful World- the Animated Series ∥ Lerche ∥ Dir. Taguchi Tomohisa: I always heard the original Kino was great but I didn't care enough to actually go back and watch it. Thankfully, anime's got me covered with this new adaptation that definitely lived up to the hype. If I were to use one phrase to describe Kino no Tabi it would be "Star Trek"―much like that show it's an episodic series about some people on a journey to strange places that uses each episode to set up an ethical or philosophical question and then work through it. As a result, it's wonderfully varied and constantly surprising. Also, Kino is cute!

3: Konohana Kitan ∥ Lerche ∥ Dir. Okamoto Hideki: Is it wrong for me to say this show is like Kino? Konohana is also a series of short stories tied together by the setting and characters of the inn, but instead of setting up philosophical questions it's all about sentimentality. I really appreciate short form storytelling and there are a ton of fantastically constructed short stories here and they rarely failed to make me bawl my eyes out. It also features some of the cutest girls of the year, to the point that I still don't really know who best girl is: I gave it to Yuzu, but you really couldn't go wrong with any of them.

2: Houseki no Kuni ∥ Orange ∥ Dir. Kyougoku Takahiko: It's a real shame that this show can't also be anime of the year, but second place is no indictment of the quality of this show which was one of two to earn a perfect score last year. Houseki no Kuni is a standard (if masterfully executed) bildungsroman, but it's wrapped in a package unlike anything I've ever experienced before. The arresting character designs are the first thing that jump out, but there's also the unique and never-quite-explained setting and world, including the haunting visuals of the moon people antagonists, and the show's stylish fusion of 3DCG technology with traditional animation techniques, resulting in some of the best cinematography of the year. And then there's the cast of characters, headed by Kurosawa Tomoyo as Phosphophyllite who has with this performance removed any doubt in my mind that she's one of the top actresses in anime right now. Phos experiences character growth that's almost unprecendented in this medium, where return to the status quo is the norm for most "arcs," and Kurosawa's performance which takes Phos from goofy red-headed stepchild to cold, disaffected warrior (while still not losing any of her personality) really ties it all together. Phos's character development is so satisfying that it even manages to convincingly take the place of a real ending to the plot. A genuine masterpiece.

1: Shoujo Shuumatsu Ryokou ∥ White Fox ∥ Dir. Ozaki Takaharu: But as fate would have it there would be two unqualified masterpieces this year... Part of the reason I've put off finishing this post is because I've struggled to think of ways to communicate how truly sublime the experience of watching Shoujo Shuumatsu Ryokou is. It's beautiful, thoughtful, introspective, sentimental, heart-rending, soothing... I guess it's fitting that it's so many things because the show is ultimately about humanity, where we came from, and where we're heading. And it does all that without being brooding or melancholic: these round girls look the apocalypse square in the face and still manage to find beauty, comfort, and profound meaning in the world. If that isn't humanity at its purest, what is? This show that is at first glance about two round blobs on a road trip will make you reconsider mankind's place in the universe. I love anime.

Close but no cigar:

The biggest conflict for me was Princess Principal, which I really wanted to include in the list but just couldn't make room for it. There's a lot of things I love that show for: its fun setting, endearing characters, its well-told short form stories, and the fact that it tiptoes into dealing with leftist politics... But unfortunately it ends quite poorly, which is a big knock on a show as plot-driven as this one. In a similar vein, Kakegurui was one of the most compelling shows week-to-week of the year, but it also suffers from a weak non-ending which lets a little air out of the balloon after all the super hype gambles until that point.

In the cute girls department, there was Kobayashi-sanchi no Maidragon, which let us know that Kyoani can still make moe anime if they try. It was definitely a great specimen in the genre, but it didn't really do anything special enough to get into the top ten... other than having Kanna. There was also Eromanga-Sensei, which lived up to its name by being very ero but was also just unremarkably good.

In terms of lesser shows that deserve a shoutout, I've gotta give one to the second season of Lovelive! Sunshine!! for being so incredibly better than the first outing that it made me genuinely love Aqours and look forward to the upcoming movie. After the last two season of Lovelive anime I never thought I'd really care again, but they managed to do it with a renewed focus on character and abandoning the stupid 'save the school' narrative that made Sunshine feel like a second-rate knockoff of the original. I should also mention Made In Abyss, if only because of its overriding popularity around the world, but also because the first half of it was setting up for an all-time great show that could have easily slotted in among Houseki no Kuni and Shoujo Shuumatsu Ryokou, but then it made the mistake of getting too grimdark and ruined it.

Now time to open the envelopes:

Best Actress: Kurosawa Tomoyo as Phosphophyllite, Houseki no Kuni. What, you were expecting someone else? At only 21 years of age Kurosawa has already established herself as a force to be reckoned with, between this role and her similarly fantastic work as Kumiko in the Euphonium series. She brings a level of emotional texture to a character that's seldom seen in anime. Just go look at the review for Houseki for more explanation of why she deserves this. We definitely have a lot to look forward to with this girl.

(Honorable mentions: Yuuki Aoi as Tanya Degurechaff, Youjo Senki; Noto Mamiko as Morioka Moriko, Netojuu no Susume; Minase Inori & Kubo Yurika as Chito & Yuri, Shoujo Shuumatsu Ryokou; Hayami Saori as Jabami Yumeko, Kakegurui)

Best Actors: Ichikawa Aoi & Murata Taishi as Izumi Eita & Souma Haruto, Just Because!. I didn't include Just Because in the close-but-no-cigar section because I figured I could give it credit here. For me, Just Because! was one of the most underrated shows of last year; it won me over with its understated but earnest depiction of youth navigating the tangle of falling in love for the first time. Part of what makes it so charming is the realistic relationship between Ichikawa and Murata's characters, once-seperated friends who reunite when the protagonist moves back to the town he grew up in. The interplay between the characters has that sort of unstated intimacy that often defines male friendships, and while a lot of that is down to the solid writing, it's hard not to give credit to the actors for making the characters' relationship so darling as well.

(Honorable mentions: Fukushima Jun as Satou Kazuma, Kono Subarashii Sekai ni Shukufuku wo! 2; Chiba Shouya as Azumi Koutarou, Tsuki ga Kirei; Saitou Souma as Glenn Radars, Roku de Nashi Majutsu Kyoushi no Akashic Records)

Newcomer Seiyuu of the Year: Tomita Miyu. Talk about jumping onto the scene. Tomita first came to my active attention with her role as the aloof angel Gabriel in Gabriel Dropout, and her comic delivery was a big part of that show's success. When she later played Kuina in Hinako Note, I thought maybe she was a little one note, because the performances seemed really similar. Her performance as Riko in Made In Abyss, though, really threw her into the spotlight. While I personally hated what happened in episode 10 from a narrative standpoint, there's no denying that that scene was so gutwrenching and affecting for so many people because of Tomita's performance. I'd still like to see if she has more vocal range, but even if she doesn't, this girl―who was only seventeen years old while turning in that work!―can definitely act. I hope we get to hear her lead another show sometime soon.

(Honorable mention: Naganawa Maria. It's not always the case that a voice can entirely make a character. People like Kugimiya Rie can do that, and in recent years Sakura Ayane does the same for me. Naganawa Maria as Kanna Kamui in Kobayashi-sanchi no Maidragon is another example. Kanna would have always been cute, of course, but it's Naganawa's voice that really put her over the edge to becoming one of the most widely popular characters of 2017. The quality of her loligoe is uncontested, but what remains to be seen is if she can truly carry a show as the main protagonist. The only example we have of that is her work as Honda Tamaki in Stella no Mahou, which I enjoyed, but I'd like to hear more of her in that kind of role.)

#best of the year