TV: General Anime Discussion (Part 3)
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Pirate King Luffy
Ferkland
Has anyone heard of this? it just came out today. It's a short little movie/music video with a collaboration from Crunchyroll and A-1 Pictures with Porter Robinson and Madeon with the music.
Oogie Boogie
Registered User
- Apr 9, 2011
- 24,180
- 3,210
Part of me wants to start watching Hunter x Hunter.
I'm not sure though since the manga has been stopped due to the creator's health.
I'm not sure though since the manga has been stopped due to the creator's health.
Unholy
kesbae
Pirate King Luffy
Ferkland
dogbazinho
Registered User
I actually saw it because there was some controversy around it on reddit
But it is a great music video no doubt
Pirate King Luffy
Ferkland
I saw it when it was first posted on Reddit and didn't know what was happening until i read a thread on the situation a shortly after it happened. Thought it was funny how big it got when it could have been easily avoided.
Took a break from anime since finishing Inuyasha, picked up a series yesterday called something like A Lie in April, or whatever. Can't believe I am liking an anime around the premise of a pianist, but it's really well done with superb animation quality and likable characters.
Is this going to be a standalone story and characters?
Is this going to be a standalone story and characters?
Pirate King Luffy
Ferkland
The anime I have been watching this season is Izetta: The Last Witch.
I'm going to start Bungou Stray S2 soon. I watched the 1st episode of Drifters when it first aired, and will probably continue watching that at some point.
I like Izetta due to some semblance and loosely based WW2 Europe.
I'm going to start Bungou Stray S2 soon. I watched the 1st episode of Drifters when it first aired, and will probably continue watching that at some point.
I like Izetta due to some semblance and loosely based WW2 Europe.
KeithIsActuallyBad
SPEEN!
**Warning, some spoilers throughout**
So from my previous post, I wrote that I just watched the fifth or sixth episode of "Your Lie in April". Since then I finished the series and I must say that it was truly amazing. In some ways, to me, it really shared some distinct features from "Angel Beats!". Not really talking about the premise, storyline, or characters, but the overall feeling of the show if that makes sense. Perhaps it's not fair to compare the two, since Angel Beats had significant action parts, while Kimiuso was more of a drama series trying to touch your origin of emotions.
Personally speaking, I think the action parts in Angel Beats makes it more compelling and entertaining anime than Kimiuso, but the character development is absolutely unbelievable in this show. Now, I am an anime fan, but I don't watch nearly as much as you guys' do, but is it fair to say that Kimiuso has some of the best development among its characters in any single anime? From what I've experienced, I think so!
Next aspect I enjoyed was the animation. Maybe I am stuck in the past since the last couple of anime series I've watched were ones in the 90s and early 2000s, which is why I consider this show amazing. Or maybe I just do not take the animation for granted. Whatever the case is, the animation was top notch in this series, especially Kousei's finger arrangement when he's playing the piano. If the fingers accurately portray the specific notes for each song, then it shows the dedication the producers had in creating this show from the manga pages. I just don't have the expertise since I just started playing the piano two months ago.
Does the animation come close to Fate/Stay Night: Unlimited Blade Works level (which I consider to be the best I've ever seen)? No it isn't, but that isn't the point of the show. The point of this show is to immense into Naoshi Arakawa's world and to surpass depressive events, which will happen or has happened in everyone's life. It is this uniqueness that you need to overcome and enjoy the happiness that life brings, even in the face of despair. Your passed loved ones do not want to see you living in your own created abyss surrounded by darkness, but focus more on optimism.
Death and Rebirth are the two centralized concepts here, but both happening at different segments of the story. In particular, Kousei’s death is at the beginning with his rebirth at the end, while Kaori’s rebirth is at the beginning (knowing her time is short) with her actual death at the end. These two concepts, happiness and sadness can be taken from Pixar’s “Inside Outâ€, specifically Ryley’s character. Example, “Joy†figures out during one of the “important event orbs†that happiness comes from sadness: in terms of her teammates cheering her up after losing the game. I will take it one step further and introduce the idea within the psychology point of realm…without sadness, how would we know happiness? Without suffering, how would we know what love feels like? We wouldn’t.
Naoshi Arakawa even presents these qualities in traumatic events within Kousei’s life like when he tells his Mother to "die", after hitting him with her cane. But Kousei's Mom is more than just a basic villain, what she was, was a multidimensional character who always wanted the best for him in the end. Yes, she was strict, demanding, and sometimes violent, but it was for Kousei to develop his technical skills. Skills he would need since she was terminally ill and wasn't going to be around forever. She knew that having the technical skills, it would get him somewhere in life even a remote job in Europe, but that with time, he will understand musical freedom.
This all brings me to the powerful character in Kaori. Kousei might seem like the main character of the series, but Kaori is the most important one. Her illness made her grow up to have the understanding to enjoy living to the most she (and we) can. It’s also the premise why I have the opinion that the show should have been called, “My Lie in Aprilâ€, instead of “Your Life in Aprilâ€. The significance here is that Kaori is the one who wrote the letter to Kousei telling him about how she lied. Yes we see the world within Kousei’s eyes, but the actual lie came from the love and desire to spend her remaining time with Kousei. The problem though is that I believe Kaori was debating about wanting a relationship due to the factor of her death, and how that would impact Kousei in a negative way, AGAIN. She had to get close to him and then drop hints, which Kousei didn’t really realize consciously, but unconsciously.
That one scene under the sakura trees, where Kousei gets over the discouraging hump and where he says he wants to play for “herâ€, showing some affection, only having her whisper to herself that her time was short was climatic. That was the apex of the show for me, because it showed the level of improvement which needed to happen to face the consequences at the end. The progression which Kousei needs to prevent himself of falling back into the dark crevasse and the progression that Kaori needs to accept her fate. The single factor which helped both characters in this regard, was, “playing music for each otherâ€. At the end, you see a “happily†or even cheered Kousei playing the piano elegantly due to this simple reason, he’s playing it for Kaori and for Kaori alone. She is the one who presented the idea that music under the metronome has no soul, the soul of sound comes from the person who feels the notes, these notes are made by the love they had for each other. Honestly I can go on and on with Kaori's personality since she was the one who freed Kousei from his chains, but that is something to watch than write about.
One negative aspect was that certain parts were just overly emotional. This is an emotional anime, I totally get the high, highs and the low, lows, but I think there was just too much emotion bent out. Too much, that as a viewer I started getting numb by episode seventeen or eighteen of the twenty-two. Not really talking about Kaori and Kousei, but Tsubaki and the two other pianists was a over the top. Additionally, the flashbacks: I do think this was a fundamental feature to present the aspects of the character's growth. I understand this, but the constant reiterating of the same occurrences seemed too much of filter quality than actual canon from Arakawa. I’ve already spouted enough and spent way too much time on this review, so I will stop here. I’ll just like to add is that even if you haven’t seen it or dislike this genre of anime, this is a must watch for even the most emotionally inept.
An easy 8.9/10
So from my previous post, I wrote that I just watched the fifth or sixth episode of "Your Lie in April". Since then I finished the series and I must say that it was truly amazing. In some ways, to me, it really shared some distinct features from "Angel Beats!". Not really talking about the premise, storyline, or characters, but the overall feeling of the show if that makes sense. Perhaps it's not fair to compare the two, since Angel Beats had significant action parts, while Kimiuso was more of a drama series trying to touch your origin of emotions.
Personally speaking, I think the action parts in Angel Beats makes it more compelling and entertaining anime than Kimiuso, but the character development is absolutely unbelievable in this show. Now, I am an anime fan, but I don't watch nearly as much as you guys' do, but is it fair to say that Kimiuso has some of the best development among its characters in any single anime? From what I've experienced, I think so!
Next aspect I enjoyed was the animation. Maybe I am stuck in the past since the last couple of anime series I've watched were ones in the 90s and early 2000s, which is why I consider this show amazing. Or maybe I just do not take the animation for granted. Whatever the case is, the animation was top notch in this series, especially Kousei's finger arrangement when he's playing the piano. If the fingers accurately portray the specific notes for each song, then it shows the dedication the producers had in creating this show from the manga pages. I just don't have the expertise since I just started playing the piano two months ago.
Does the animation come close to Fate/Stay Night: Unlimited Blade Works level (which I consider to be the best I've ever seen)? No it isn't, but that isn't the point of the show. The point of this show is to immense into Naoshi Arakawa's world and to surpass depressive events, which will happen or has happened in everyone's life. It is this uniqueness that you need to overcome and enjoy the happiness that life brings, even in the face of despair. Your passed loved ones do not want to see you living in your own created abyss surrounded by darkness, but focus more on optimism.
Death and Rebirth are the two centralized concepts here, but both happening at different segments of the story. In particular, Kousei’s death is at the beginning with his rebirth at the end, while Kaori’s rebirth is at the beginning (knowing her time is short) with her actual death at the end. These two concepts, happiness and sadness can be taken from Pixar’s “Inside Outâ€, specifically Ryley’s character. Example, “Joy†figures out during one of the “important event orbs†that happiness comes from sadness: in terms of her teammates cheering her up after losing the game. I will take it one step further and introduce the idea within the psychology point of realm…without sadness, how would we know happiness? Without suffering, how would we know what love feels like? We wouldn’t.
Naoshi Arakawa even presents these qualities in traumatic events within Kousei’s life like when he tells his Mother to "die", after hitting him with her cane. But Kousei's Mom is more than just a basic villain, what she was, was a multidimensional character who always wanted the best for him in the end. Yes, she was strict, demanding, and sometimes violent, but it was for Kousei to develop his technical skills. Skills he would need since she was terminally ill and wasn't going to be around forever. She knew that having the technical skills, it would get him somewhere in life even a remote job in Europe, but that with time, he will understand musical freedom.
This all brings me to the powerful character in Kaori. Kousei might seem like the main character of the series, but Kaori is the most important one. Her illness made her grow up to have the understanding to enjoy living to the most she (and we) can. It’s also the premise why I have the opinion that the show should have been called, “My Lie in Aprilâ€, instead of “Your Life in Aprilâ€. The significance here is that Kaori is the one who wrote the letter to Kousei telling him about how she lied. Yes we see the world within Kousei’s eyes, but the actual lie came from the love and desire to spend her remaining time with Kousei. The problem though is that I believe Kaori was debating about wanting a relationship due to the factor of her death, and how that would impact Kousei in a negative way, AGAIN. She had to get close to him and then drop hints, which Kousei didn’t really realize consciously, but unconsciously.
That one scene under the sakura trees, where Kousei gets over the discouraging hump and where he says he wants to play for “herâ€, showing some affection, only having her whisper to herself that her time was short was climatic. That was the apex of the show for me, because it showed the level of improvement which needed to happen to face the consequences at the end. The progression which Kousei needs to prevent himself of falling back into the dark crevasse and the progression that Kaori needs to accept her fate. The single factor which helped both characters in this regard, was, “playing music for each otherâ€. At the end, you see a “happily†or even cheered Kousei playing the piano elegantly due to this simple reason, he’s playing it for Kaori and for Kaori alone. She is the one who presented the idea that music under the metronome has no soul, the soul of sound comes from the person who feels the notes, these notes are made by the love they had for each other. Honestly I can go on and on with Kaori's personality since she was the one who freed Kousei from his chains, but that is something to watch than write about.
One negative aspect was that certain parts were just overly emotional. This is an emotional anime, I totally get the high, highs and the low, lows, but I think there was just too much emotion bent out. Too much, that as a viewer I started getting numb by episode seventeen or eighteen of the twenty-two. Not really talking about Kaori and Kousei, but Tsubaki and the two other pianists was a over the top. Additionally, the flashbacks: I do think this was a fundamental feature to present the aspects of the character's growth. I understand this, but the constant reiterating of the same occurrences seemed too much of filter quality than actual canon from Arakawa. I’ve already spouted enough and spent way too much time on this review, so I will stop here. I’ll just like to add is that even if you haven’t seen it or dislike this genre of anime, this is a must watch for even the most emotionally inept.
An easy 8.9/10
Unholy
kesbae
Haikyuu season 3 is epic. This match might be my favorite out of any Haikyuu/Kuroko no Basuke match. Half way over though 
Unholy
kesbae
Pirate King Luffy
Ferkland
Finlandia WOAT
No blocks, No slappers
- May 23, 2010
- 24,429
- 24,730
In that 30 second trailer Ed stares down a hellhound and a wall of debris crashing straight at him, and he doesn't flinch or react at all.
The wonders of CGI!!
Anyway....
The 7 Deadly Sins
Through a quiet weekend I binged this entire 24 episode adaptation of the first ~100 chapters of the popular manga series (now popular anime series), and after careful thought I decided there is an elephant in the room, a fly in the ointment, something that deserves to be discussed in depth.
(And no, it's not the constant sexual harassment, the ostentatious groping and peeking by one main character of another, played for laughs 3-4 times per episode- though that is disgusting, and were I not immunized to such things thanks to reading a lot of fantasy novels I would not have made it through this series)
But before I go off on a long winded rant, I will emphasize that The 7 Deadly Sins does something well, very well, exceptionally well; and that is characterization. Each character, while not breaking any originality curves or winning creative writing contests, is granted a specific personality that brings something to the series previously lacking, but now fulfilled with their inclusion. This personality is often directly based on their life experiences, and if nothing else the personalities are kept consistent throughout. This adept characterization- it clears the bar of "good enough" easily- carries the series, and I suspect is the source of it's large popularity.
But beyond characterization, this show is an absolute mess.
A layman sees a gilded, ornate pocketwatch, the kind wealthy people of the pre-1980's wear on a chain and barely fits the palm of their hand. She sees the carefully detailed carvings in the soft gold, the brilliant gleam in the sunlight. She understands where it goes and what it does and what it signifies. She understands all of these superficial details.
But within the pocket watch, impossible to see from without, are a series of finely tuned gears, click-clackiting away, ever turning in perfect harmony, hidden from the eyes of outsiders yet essential to the pocketwatch's mundane function.
That's this show. The author has undoubtedly spent his life consuming manga and other entertainment products. He understands clearly which beats he wants to hit, the specific order of the countless "and thens" that make this series. It's certainly odd to see a fair amount of effort placed into characterization that, combined with the author's talent, creates a cast of characters for which emotional investment is easy. But the same cannot be said about the story because there is none, there is nothing beneath the hood but ******** and deflection.
I can spend hours talking about how most/all of this show (again, outside of characterization, which is fine/good) is poorly thought out and makes no sense, but I don't want to waste time on trees, so I'll try to keep this as macro as possible.
[medium level spoilers follow, big ones (BIG ONES) are tagged]
The hook of the series is: the Sacred Order of D-Bags has forcibly overthrown the unelected totalitarian monarchy and it's beloved, benevolent ruler. The king's third daughter flees, planning to recruit a band of legendary outlaws to help her retake the kingdom. As luck would have it, she miraculously runs into the leader of this band . It's fortunate because his wanted poster looks nothing like him, for some reason.
[spoil] No, Hendrickson and Hellbram are well aware he is a demon, and not only that, their big dumb plan specifically hinges on Meliodas' capture (or rather, getting his sword). But I said I wouldn't waste time on how nothing makes sense, so I am aware it's for the sake of a running gag [/spoil]
And together, they set off!
So.....
If this were a better structured series, what would then happen is Meliodas (that's his name) and Elizabeth (her's) would come up with some sort of plan. You'd have a 5 minute exposition scene where Elizabeth explains the situation, and together they come up with an ultimate goal. They then decide that they need the specific talents of these people to help enact this specific plan. For example, Elizabeth would point out that the Sacred Order of D-Bags is split into two separate factions- the in-world reason for this is never explained, as any potential cleavages (and there are several rather large differences in world view between the two...heh...) are only revealed to one of the leaders of a faction after he/we learn there are different factions....I can only presume this is the vestigial remnant of what I'm describing above, lost somewhere in putting pen to paper or paper to screen- so they, the eponymous 7 Deadly Sins, needs to defeat/kill one so the other can take over and return control to the absolute ruler: and to do this, they need the talents of X, Y and Z.....
But that never happens. No plan of action is ever mentioned or discernible. The main cast fumbles blindly from place to place- the recruitment of the third outlaw makes since because they know his specific location, the others are WTF, just going to random places on complete whims and OH LOOK WHO WE RANDOMLY RUN INTO- with no real end goal other than "Collect the Plot Coupons". Once this is achieved, Part 2 begins with a plot development I can only assume the bad guys could have done at literally any time, but were nice enough to wait until the good guys were ready to go.
This lack of structure extends to nearly everything about the series (sans characterization). Story arcs- enough for entire series' worth of character development- are introduced and then resolved as fast as possible, sometimes in the same damn scene. The magic powers are arbitrary and clearly based on convenience- notice that not once is it ever mentioned that anyone is in danger of running out of magic power (unlike, say, Naruto). One character uses a special shield that can heal people within; another turns her skin to steel, literal steel; still another uses her race's power to read minds- all of these are introduced without regard to whether they make sense given what has happened before or what will happen later, they're all used that one time and then are promptly forgotten by the narrative regardless of whether any situations come up/came before in which it would make perfect sense to use those powers. The two main villains of the series are not properly introduced until halfway through it: in other words, it is not until halfway through the series that the audience understands what, specifically, is the goal of the main characters, and what accomplishing that goal will look like.
It's almost as if the author is terrified of writing himself into a corner, afraid of being pinned down: so he has created a world where there are no rules for himself, where anything can happen just 'cause, hoping that his writing talent and the characterization is enough for the audience to not notice.
It isn't.
As a result, there is no structure to anything. One of the few longer term story arcs with one of the characters is botched because we, the audience, don't learn the specific mechanics of it beyond that there is something between two characters until roughly 30 seconds before the thing is resolved- which is ridiculous. The author is aware that it is ridiculous, because roughly 10 minutes of real time after that, he gives himself a do-over (because magic) in which both characters act completely different then they did previously for no reason other than the first time around didn't work.
[spoil] Also Gilthunder's plot twist was terrible. Partly because there were ~18 episodes between the main indication/hints were provided and when he was revealed to be a coerced good guy, partly because the twist involves a character who was given about 1 minute of screen time, and was seldom mentioned by anyone previous to that point, and partly because frankly, I don't see why Hendrickson would give a crap if Gilthunder had said, "This wine is great, thanks!" and been off on his merry way. BTW the above I am, of course, talking about King and Hellbram.
Speaking of episode 2, it's probably just me, but I actually agreed with the village over the kid. It was a childish, dumb thing to put the grub in Gilthunder's drink- but a child doing a dumb, childish thing is not the issue, the issue is that the episode resolves with the village apologizing to the child.... "Sorry for treating you like crap kid after your stupid, childish action doomed us all!". Ugh. I think Melodias makes the point that both sides are wrong, maybe, so at this point I'm just reaching, but it rubbed me the wrong way.[/spoil]
Do I recommend The 7 Deadly Sins? Eh. Sure, why not. The series gets better in the 2nd half for two reasons: the pace picks up considerably, which makes the stupid ******** easier to ignore (see: The Dark Knight) and the fights start have more emotional depth to them.
The wonders of CGI!!
Anyway....
The 7 Deadly Sins
Through a quiet weekend I binged this entire 24 episode adaptation of the first ~100 chapters of the popular manga series (now popular anime series), and after careful thought I decided there is an elephant in the room, a fly in the ointment, something that deserves to be discussed in depth.
(And no, it's not the constant sexual harassment, the ostentatious groping and peeking by one main character of another, played for laughs 3-4 times per episode- though that is disgusting, and were I not immunized to such things thanks to reading a lot of fantasy novels I would not have made it through this series)
But before I go off on a long winded rant, I will emphasize that The 7 Deadly Sins does something well, very well, exceptionally well; and that is characterization. Each character, while not breaking any originality curves or winning creative writing contests, is granted a specific personality that brings something to the series previously lacking, but now fulfilled with their inclusion. This personality is often directly based on their life experiences, and if nothing else the personalities are kept consistent throughout. This adept characterization- it clears the bar of "good enough" easily- carries the series, and I suspect is the source of it's large popularity.
But beyond characterization, this show is an absolute mess.
A layman sees a gilded, ornate pocketwatch, the kind wealthy people of the pre-1980's wear on a chain and barely fits the palm of their hand. She sees the carefully detailed carvings in the soft gold, the brilliant gleam in the sunlight. She understands where it goes and what it does and what it signifies. She understands all of these superficial details.
But within the pocket watch, impossible to see from without, are a series of finely tuned gears, click-clackiting away, ever turning in perfect harmony, hidden from the eyes of outsiders yet essential to the pocketwatch's mundane function.
That's this show. The author has undoubtedly spent his life consuming manga and other entertainment products. He understands clearly which beats he wants to hit, the specific order of the countless "and thens" that make this series. It's certainly odd to see a fair amount of effort placed into characterization that, combined with the author's talent, creates a cast of characters for which emotional investment is easy. But the same cannot be said about the story because there is none, there is nothing beneath the hood but ******** and deflection.
I can spend hours talking about how most/all of this show (again, outside of characterization, which is fine/good) is poorly thought out and makes no sense, but I don't want to waste time on trees, so I'll try to keep this as macro as possible.
[medium level spoilers follow, big ones (BIG ONES) are tagged]
The hook of the series is: the Sacred Order of D-Bags has forcibly overthrown the unelected totalitarian monarchy and it's beloved, benevolent ruler. The king's third daughter flees, planning to recruit a band of legendary outlaws to help her retake the kingdom. As luck would have it, she miraculously runs into the leader of this band . It's fortunate because his wanted poster looks nothing like him, for some reason.
[spoil] No, Hendrickson and Hellbram are well aware he is a demon, and not only that, their big dumb plan specifically hinges on Meliodas' capture (or rather, getting his sword). But I said I wouldn't waste time on how nothing makes sense, so I am aware it's for the sake of a running gag [/spoil]
And together, they set off!
So.....
If this were a better structured series, what would then happen is Meliodas (that's his name) and Elizabeth (her's) would come up with some sort of plan. You'd have a 5 minute exposition scene where Elizabeth explains the situation, and together they come up with an ultimate goal. They then decide that they need the specific talents of these people to help enact this specific plan. For example, Elizabeth would point out that the Sacred Order of D-Bags is split into two separate factions- the in-world reason for this is never explained, as any potential cleavages (and there are several rather large differences in world view between the two...heh...) are only revealed to one of the leaders of a faction after he/we learn there are different factions....I can only presume this is the vestigial remnant of what I'm describing above, lost somewhere in putting pen to paper or paper to screen- so they, the eponymous 7 Deadly Sins, needs to defeat/kill one so the other can take over and return control to the absolute ruler: and to do this, they need the talents of X, Y and Z.....
But that never happens. No plan of action is ever mentioned or discernible. The main cast fumbles blindly from place to place- the recruitment of the third outlaw makes since because they know his specific location, the others are WTF, just going to random places on complete whims and OH LOOK WHO WE RANDOMLY RUN INTO- with no real end goal other than "Collect the Plot Coupons". Once this is achieved, Part 2 begins with a plot development I can only assume the bad guys could have done at literally any time, but were nice enough to wait until the good guys were ready to go.
This lack of structure extends to nearly everything about the series (sans characterization). Story arcs- enough for entire series' worth of character development- are introduced and then resolved as fast as possible, sometimes in the same damn scene. The magic powers are arbitrary and clearly based on convenience- notice that not once is it ever mentioned that anyone is in danger of running out of magic power (unlike, say, Naruto). One character uses a special shield that can heal people within; another turns her skin to steel, literal steel; still another uses her race's power to read minds- all of these are introduced without regard to whether they make sense given what has happened before or what will happen later, they're all used that one time and then are promptly forgotten by the narrative regardless of whether any situations come up/came before in which it would make perfect sense to use those powers. The two main villains of the series are not properly introduced until halfway through it: in other words, it is not until halfway through the series that the audience understands what, specifically, is the goal of the main characters, and what accomplishing that goal will look like.
It's almost as if the author is terrified of writing himself into a corner, afraid of being pinned down: so he has created a world where there are no rules for himself, where anything can happen just 'cause, hoping that his writing talent and the characterization is enough for the audience to not notice.
It isn't.
As a result, there is no structure to anything. One of the few longer term story arcs with one of the characters is botched because we, the audience, don't learn the specific mechanics of it beyond that there is something between two characters until roughly 30 seconds before the thing is resolved- which is ridiculous. The author is aware that it is ridiculous, because roughly 10 minutes of real time after that, he gives himself a do-over (because magic) in which both characters act completely different then they did previously for no reason other than the first time around didn't work.
[spoil] Also Gilthunder's plot twist was terrible. Partly because there were ~18 episodes between the main indication/hints were provided and when he was revealed to be a coerced good guy, partly because the twist involves a character who was given about 1 minute of screen time, and was seldom mentioned by anyone previous to that point, and partly because frankly, I don't see why Hendrickson would give a crap if Gilthunder had said, "This wine is great, thanks!" and been off on his merry way. BTW the above I am, of course, talking about King and Hellbram.
Speaking of episode 2, it's probably just me, but I actually agreed with the village over the kid. It was a childish, dumb thing to put the grub in Gilthunder's drink- but a child doing a dumb, childish thing is not the issue, the issue is that the episode resolves with the village apologizing to the child.... "Sorry for treating you like crap kid after your stupid, childish action doomed us all!". Ugh. I think Melodias makes the point that both sides are wrong, maybe, so at this point I'm just reaching, but it rubbed me the wrong way.[/spoil]
Do I recommend The 7 Deadly Sins? Eh. Sure, why not. The series gets better in the 2nd half for two reasons: the pace picks up considerably, which makes the stupid ******** easier to ignore (see: The Dark Knight) and the fights start have more emotional depth to them.
Last edited:
oil Leaks
The Ultimate Decoy
- Jul 5, 2011
- 3,818
- 3,561
Haikyuu season 3 is epic. This match might be my favorite out of any Haikyuu/Kuroko no Basuke match. Half way over though
Totally forgot there is only 10 episodes this season, only 3 left. Last episode ngl, was so hype.
Agreed on all of it. Made great points about how this series is messed up, as it takes the best aspects of other animes' and mangas' and jumbles them into a pile here.
The amount of sexual harassment in particular is something I mentioned in my review, it's completely unnecessary and just show's the overall's production team being that of 14 year old boys who haven't seen the sun in weeks.
I did like the setting of 7 Deadly Sins and the show does have some good aspects to draw you in. But the series needs to revamp itself for season 2-3 to be part of the star lineup instead of a secondary show just to kill time, which it is at this point.
Pirate King Luffy
Ferkland
A lot of that stuff is in the manga too, and production team didn't just do it out of the blue. They followed the narrative the manga took. It's based off it after all. Yeah, it's unnecessary and too much at times.
It's an anime I wouldn't watch again.
