I feel Gokushufudou works for the same reason of why I love Leslie Nelson’s brand of comedic movies. It’s a very serious character in a completely out of tone situation. Our main character, Tatsu, is an ex-yakuza who left all of the gang violence behind to completely support his wife in her work by taking care of their house. However, even with the smallest chores of cleaning the bath or doing the dishes, he treats it with the same horrifying and meticulous seriousness of a gang-sanctioned killing.
Okay, this one… This one right here? Delightful.
Satoko & Nada is a simple series about two young women finding themselves as roommates in University and exploring each other’s cultures. Satoko is a Japanese exchange student to America who finds her expectations for her roommate are very unlike what she initially thought when she meets Nada, another exchange student who comes from Saudi Arabia. However, the two find themselves as incredibly fast friends and, for the benefit of this manga, very open and accepting about sharing their cultures with each other.
The Winter 2018 season was, in many ways, a genuine surprise, primarily so because of the sheer volume of genuinely solid shows that were offered in this first bit of the year. What has surprised me beyond this, however, is that not only did we have a number of shows that I am already seeing as possible contenders for anime of the year, but a number of shows, to my surprise, made some concerted pushes in terms of working to buck some norms (or at least attempting to do so) that are fairly present within the general sphere of seasonal anime. For this season in particular, one theme that stood out to me has been that of self-love/self-acceptance, and this came to me most notably while watching Yuru Camp and Sanrio Boys.
This week, we talk about the P.A. Works’ lesser-spoken-of masterstroke, Hanasaku Iroha. We discuss the balance it strikes between lighthearted story and drama, its extensive development of its characters, both main and side, and evisceration (but, you know, not like a bad evisceration).
This podcast was recorded on June 15th, 2017.
Audio Links: iTunes | SoundCloud
This week, we talk about how Jun Maeda affected Charlotte, highlighting the positives and negatives of his writing style along the way.
Our plunge into Maeda was a ride, trust us.
This week we talk about how the characters in Tsuritama deal with anxiety and family issues through a variety of genre-changing scenarios.
Expect lots of bad puns. Lots.
We’ll make everyone’s dreams come true!
Note: This will contain some heavy spoilers about the ending of the Love Live! The School Idol Movie. If you haven’t seen the movie before reading this post, then I’d suggest doing so beforehand.
Idol shows are one of those things within the anime community that people either love or absolutely hate. There’s a lot of polarization between fans that like shows with “mature and gritty” stories and those that tend to enjoy milder, “moe” settings. While anime be at all places within that spectrum, idol shows tend to fall on the “moe” side merely because of the character designs and the content discussed, and therefore causes a lot of “tension” (read: shit-posting) between the two fanbases, especially when it comes to the online anime community. Some associate the “moe” side of the spectrum with slice-of-life comedies that have no story or overarching plot; I personally think they’re just missing out.