Opening remarks: I originally intended this piece to be a particularly academic-driven one…digging deep into the likes of Mark Lochrie & Paul Coulton’s article on shared viewing experiences or ‘Social TV’ and ‘Second Screen Devices’, and Alice E. Marwick’s paper on ‘Imagined Audiences and Context Collapse in Microblogging’. Elements of these studies are still retained in the final product, but I decided to keep discussion more centred on Dragon Maid and my own experiences in watching it…and ultimately deciding that it is an absolute new favourite.
For my second and final venture into the best of anime 2016, I determine the overall winners of the year.
Yes, for whatever reason, ATMA & Funomena is still alive and kicking. I also got into the elites’ club by being featured on the ThatAnimeSnob Reddit board. Truly an honour.
2016 was a horrible year (yes I’m one of those, deal with it) that was unfashionably kind to me as a blossoming anime fan and…maturing adult (somehow, these two do go hand-in-hand for me). I got myself a new (and first) decent-paying job, I started collecting anime, music and film merch like crazy. I watched too much anime.
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.