I want to start by talking about a single shot in Violet Evergarden’s debuting episode.
Violet’s reflection in the clock implies two things: her current state of mind, as well as certain potential, if one takes into account Violet’s first real display of agency in this scene.
A clock as a tool for telling time is mechanical and rigid by nature, its function defined by a single need. Violet was a child soldier who has known nothing but to take orders and acting on them: her function defines her, encroaching her behind a transparent cage.
I never intended to write another post on Tsuki ga Kirei. My analysis of episodes 1-4 felt pretty definitive in regards to unpacking my very positive impressions of the show overall. At the time of publication, at least. For the most part, I felt I have no more to say about it.
Instead, the show decided to up its ante with each passing episode, all the while making me realise, just how much detail I’ve missed from the episodes I thought I’ve covered quite thoroughly. Sigh…*
Akane carries around a tiny mascot doll as a lucky charm. She instinctively rubs it when she gets nervous.
Kotarou is self-conscious about his writing. He gets into a boxing match with the lamp cord when he gets anxious.
It is a delicate task, trying to depict the awkwardness of the adolescence. How does one depict such a confusing part of life, when those who are currently experiencing it are too moody and self-absorbed to bother understanding it, and those who have already experienced it can no longer provide the organic, first hand accounts?
I will quickly brush over the sheer genre-centric unexpectedness that Demi-chan has for its runtime thus far, and move on to reject this relationship that the audience supposedly has with the show as its main pull. Because it’s not what’s unexpected of the ecchi/monster girl ‘genre’ or their ‘typical production aesthetics’ that brings forth the metaphorical goodwill that Demi-chan exemplifies. Rather, the inorganic realism that the show flaunts almost ironically in regards to ‘cross-species’ human and societal relationships, is the main ingredient that elevates the experience to a higher plane of optimistic warmth.
Only one frame was needed for Sound! Euphonium to flaunt its triumphant return. With the single shot shown above, Tatsuya Ishihara was able to definitively storyboard the almost non-existent time-gap between the show’s two seasons, while at the same time, encapsulate the essence of the drama that still reside within the concert band: who has shrugged off the doubt and resorted to continue on their quest for perfection, and who’s still being trapped within their own past, unable to continue?
Bathed in a sunny back-light, Kumiko’s ascend upstairs had purpose, a sense of forward vision. Mizore is chained to the bottom of her staircase grasping her own mouth, almost choking on her own memories as ‘Polovtsian Dances‘ from Borodin’s ‘Prince Igor’ opera echoed from the school building’s rooftop, thanks in no part to her middle school band-mate Nozomi.
(Due to UnimeTV’s servers having major issues, all my posts there have been deleted, though I managed to salvage two of them. So here they are.)
Talk about the ultimate late bloomer.
The anime adaptation of Amanchu provided the creative canvas for a highly anticipated reunion of mangaka Kozue Amano (Aqua / Aria) and Satou Junichi (Aria the Animation, Princess Tutu, Tamayura) as chief director. The two individuals’ collaboration on the Aria series has deemed it one of the most highly acclaimed titles in the Slice of Life mega-genre, held in high regard for its rich and atmosphere-based storytelling, detailed and gorgeous setting design and immersive thematic explorations of human compassion and curiosity. Alongside series director Kasai Kenichi (Honey and Clover, Nodame Cantabile) and Deko Akao (Flying Witch, Noragami, Snow White with the Red Hair) handling series composition, Amanchu has the creative minds behind it to make it a charming Iyashikei title.
So Subaru got his wish: he got to cry in his favourite girl’s lap. If I was being honest, Emilia’s first introduction as Satella, her overly nice disposition and her seemingly blind belief in Subaru, had started to make me suspicious…I’m hoping that I’m wrong of course, but might as well put up shields while I still have the time.
In terms of the narrative flow thus far, episodes 8 and 9 achieved strides in key story beats that helped progressed the plot in a steady pace, while also expanding the mythos of the world.
Yeahhh…so a multitude of issues during the last few weeks kinda kept me from the keyboard again: a combination of family issues and a certain feeling of lack of inspiration, after I managed to churn out a ridiculously wannabe-scholar piece on Piano no Mori, and following that up with a ‘talking about life’ piece on Cowboy Bebop. I think I might’ve overspent myself a bit.
So yeah, I’m back and this time, I’m tackling four episodes of Re:Zero. Trust me, the locations of episodes 4 to 7 may be stagnant, but somehow, the series kept it interesting, with episode 7 being its most consistently serious one yet. Despite the minor shakeups with pacing and logic jumps, Re:Zero still stands proud as a relative highlight of this season.
Alternative Titles: The Perfect World of Kai, The Piano Forest
Director: Masayuki Kojima
Animation Production: MADHOUSE
Music: Keisuke Shinohara
Genres: Slice of Life, Music, Competition, Supernatural
Disclaimer: the societal commentary present in this publication are all the writer’s own personal observations and opinions. No journalistic or scholarly value and sources are cited nor present (unless stated otherwise).