Rambling and other animals. But mostly rambling.

Non-episodic Posts

The Mamoru Oshii method. Or at least, some of it.

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Mamoru Oshii makes… unusual anime, and I think this has always been the case. The first thing he directed was Angel’s Egg, and that is the farthest thing from normal there is. His other signature works, Urusei Yatsura 2, Patlabor 2, the Ghost in the Shell films, The Sky Crawlers, Jinroh, all share what has been called a distinct ‘personality’, which stems from his unusual directing method and the way he plays with silence and darkness. What I’m going to be focusing on here is the way he approaches three of these films: Ghost in the Shell, Patlabor 2 and Jinroh: The Wolf Brigade. I haven’t seen The Sky Crawlers yet, but I’ll be sure to dedicate a separate post for that which, odds are, will be laced with redundant hyperlinks to this one. For the most part this post will be a series of points of the things Oshii tends to put in his cyberpunk-tinged works.

Basically, Oshii’s style intrigues me. I want to ramble about it.

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Coincidence, luck, and Miracle Madman Alibaba | Magi S1 01-14

Magi is a great show, and it has great OP/ED sequences. Not because they’re phenomenally choreographed or anything, and certainly not because the singing is great, but because they offer so much promise, and really, that’s where Magi engages perfectly; in the background, in the imagination, the sense of adventure, even though the adventure has been delayed every episode for fourteen episodes now. It’s no easy feat, to be sure, promising something in an OP or ED.
Well, actually the first ED existed more for mood whiplash, which in this case, is not a bad thing. It makes the rather hopeless-feeling events on screen hit harder. It’s just more memorable when followed by a bubbly ‘nozomite iiyou, yuubi bouenkyou‘.

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A boatload of rambling thoughts on Gundam 00 | Gundam 00 Eps 00-18

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Well, it seems I am utterly incapable of completing a post unless I get to the 2nd OP/ED of a Gundam show. It’s not even as if I only watch Gundam. It’s not even like I like Gundam that much. Maybe it’s coincidence. Maybe it’s destiny. Maybe this it what is means to BE A GUN DAM MEISTER.

Which brings to attention that a huge percentage of my posts have been about some Gundam show or another. I shall have to rectify that.

But anyway, lets get to this OP already.
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Loss of Innocence in Mobile Suit Gundam (0079)

Amuro, furimukanaide,
Uchuu no kanata ni Kagayaku hoshii~i
Amuro, furimukanaide,
Uchuu no kanata ni Kagayaku hoshiiiii~ii
Amuro, Omae no… umareta,… wa… something.

I forget the rest of the song. These two lines have been on repeat in my head since I finished the original Mobile Suit Gundam(aka Gundam 0079), and that was quite a while ago, which probably means my taste in music has been completely ruined by these awful 80’s opening themes.

[Spoilers as always. You have been warned and all.]

The show itself was good. Ugly as sin, full of filler and paced slower than anything I’ve watched in recent memory, but it had it’s moments. A lot of those moments involved main character Amuro Ray, who apparently became the template for all Gundam Main Characters to follow, and the best arc I can recall is Amuro’s character arc, which is what I’ll be spewing words on from here on in.

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Samurai Flamenco is (just/not) another chuunibyou anime

[Really major spoilers for Chuunibyou Demo Koi Shitai and Samurai Flamenco up till episode 4]

Want. That. Suit.

Want. That. Suit.

There is a pervasive sense of discontentment in Samurai Flamenco so far.

That Samurai Flamenco is a chuunibyou anime is not a new idea; even the show targets itself at “those adults who refuse to grow up” in one of its catchphrases, and the hints in the show are many and rather obvious. Hazama Masayoshi is obsessed with things you would normally expect a child to care about. He has none of the pragmatic outlook, reasonableness and sense you would expect of a normal, ideal man, especially the ideal Japanese man. He refuses to give up his childish dream of being a superhero, and most importantly, he refuses to pipe down and sit around.

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Moe hath no language | Kiniro Mosaic

KinmosaAlice only speaks English. Shinobu only speaks Japanese. They both speak the same language.

Yeah. Wtf. I’ve had the thought. But it’s true.

Let’s see if we can deconstruct this.

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Free!dom in Stella Jogakuen Koutouka C3-bu (Episodes 1-10)

[WARNING: C3-bu and Free! SPOILERS, SPOILERS EVERYWHERE]

So… no, this post has nothing to do with the Free! anime. Free! doesn’t have any thing to do with anything, so if I were to write a post about Free!, it would just be filler posting.

No, Its not about feminism either. Go away. Let me talk dammit.

This post is about the sudden turn Stella Jogakuen koutouka C3-bu has taken over the last few episodes, but there is a reason I shoehorned a pun into the title, and that is that Free! contains a character archetype that is very relevant to what has been going on for the past three episodes of C3-bu:

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