Hey y’all, welcome to a new series that I’m starting every other month called Book Bloggin’! I will be discussing different manga and light novels that I’m reading at the time or keeping up with regularly! The goal is to keep with one series at a time reviewing one volume at a time until completion of a series (or until I’m caught up with English translations, at least). While each post will be talking about a particular volume, the format and structure of each post may be a bit different depending on what’s being discussed and what there is to discuss, but either way, it will be an interesting type of post series nonetheless!
This month we’re starting out with the dramatic and thought-provoking thriller Classroom of the Elite, so let’s get into it and talk a bit about it!
Hey y’all! I know it’s been a while since we posted anything, but that’s because we’ve been rather busy throughout these past month or so. Since that’s the case, I have been recently participating in collabs with some fellow AniTwitter members and AniBloggers, and this post is one of those.
In this post, me and the others talk about some of our favorite LiSA music tracks from anime and share why we think they’re top-tier picks. There’s a poll too and you can vote on which you think is the best one! Give it a look if you haven’t already!
Anyone hanging around the AniSphere recently has probably noticed an uptick in discussions about Virtual YouTubers, AKA v-tubers, and their unavoidable presence on social media platforms. While v-tubers initially became popular in recent years due to the introduction and popularity of the Kizuna A.I. Channel, the COVID-19 pandemic has vastly increased their presence as a topic of discussion, as well as a form of entertainment. Widely known groups such as Hololive and Nijisanji have continued popularizing the idea in Japan and overseas more and more every day, which has resulted in a cultural explosion across many regions of the world.
The idea of v-tubers has mostly been popularized by Hololive’s EN branch but has been popular since the introduction of v-tubers familiar with the English language. Because of these v-tuber talents primarily living in Japan and being backed by Japanese-based agencies, there have been various ways that the companies have decided to market them to different demographics across the globe. Each agency also handles its talents and branches differently by giving their management and talents varying levels of control, but also by having them under policies and conditions, as most businesses do. Of course, there also are a fair share of independent v-tubers that have borrowed ideas from these agencies and use them to create their own platforms, as well. There’s a whole spectrum of things to consider when it comes to being a virtual YouTuber talent in 2021.
Anime openings and endings (commonly abbreviated as OPs and EDs respectively) have become a staple of most anime in modern days, so it makes sense that the discussion continues to resurface, as there continues to be more and more anime released every year, which in return means more and more openings and endings are released as well. This is a different sort of era than what anime used to be, even from a decade ago, with most anime having the same opening or ending song for more than one season of a show. Even before the 2000s years of anime, OP/EDs specifically were relatively scarce in shows and were vastly different than the ones that we encounter today in terms of song genres, types of openings they are (instrumental or vocal), and most obviously the types of animation processes used in these music clips as well.
“Here we go again.”
It’s what I continuously say season after season when another discourse comes to light within the anime community. I don’t think it would necessarily be a problem if the discussions were fruitful and people were more understanding, a problem that I talked about back when responding to Irina’s article several months ago. That’s not to say that I think discourse is invalid or that I think that people shouldn’t be discussing how they feel about a particular show, but there’s a limit as to how you should do it and treating your debate partners with respect and understanding while doing so.
In the past two weeks of Re:Zero, we’ve seen two perspectives of confronting the past regarding how Subaru and Emilia handle their own issues. While we still don’t have the full details of Emilia’s situation (although we can make assumptions at this point with some of the backstories from the OVAs), there is no doubt that they’ve both had their own troubles and issues when it comes to how their past selves have handled particular situations.
Looking back to Season 1, we’ve had a large overview of Subaru’s mentality regarding how self-righteous and selfish he was when it came to trying to fulfill his own desires and wants, to the point where it took several episodes in order for him to get knocked out of that mentality due to the hardships he faced at the time. While we still see bits of that shine through Subaru’s personality now, he’s obviously undergone a full transformation thanks to those hardships as well. By looking at Episode 29, we can get a lot more context about Subaru’s past life before he was isekai’d off into the universe of Re:Zero as we know it.
As I scroll down my Twitter feed during any given season, I’m always curious to see what the current “discourse” is about any given show. Usually, this results in me reading a lot of points about shows that don’t necessarily agree with, but I can empathize with the reasoning in some way or another.
This season, that show is Rent-A-Girlfriend. While the majority of people that I’ve discussed the show with are in love with the show, mostly for its scream-inducing moments and absurd rom-com elements, others aren’t necessarily into how Kazuya acts during the anime. While I feel that without Kazuya being like this, the show’s conflicts and discussions about different relationship dynamics wouldn’t be able to be had, I still respect the opinions of others not being able to stomach that behavior for 24 minutes each week.
Nothing is more surprising than when an anime throws a curveball at you within the first few episodes of a show.
It’s not uncommon within shows to do this when they begin to ramp up its story into something larger than life or want to increase the scale of their plotline to emphasize their thematic point. Occasionally though, this does happen early on in the show as we see with this week’s’ episode of Deca-Dence, proving the reason that the “three-episode rule” mantra of many people’s seasonal habits exists for shows such as these.
The first week of the Summer 2020 anime season has now fully concluded, and despite the lack in number of shows that the season has to offer us, there’s still plenty of great shows to partake in for our viewing pleasure. Since the season has such a small, awesome selection of shows, I figure this was a good chance to spice up the Seasonal Showcase posts by doing something a little different than the previous seasons.
This time, I will be trying a different approach to the posts in selecting an individual show that I find interesting and focusing on that instead of lumping them all together in one post midway through the season. Think of this more as a weekly selective focus on a particular show than a general overview, although I also recommend checking out General Tofu’s new weekly seasonal check-in posts if you want that sort of content instead!
Nevertheless, I hope you enjoy the seasonal anime adventure we’re about to set out upon!