By the way there’s a live-action coming out in 13 December 2014 for Ao Haru Ride.Actress plays Futaba-chan’s so kawaii. There’s a trail.Song playing in the background of trail by Ikımono-gakari.
I really like anime openings’ covers,they can be better than the original sometimes.
As you may noticed i haven’t been posting a lot lately,mostly reblogging.But there’s a lot more i want to share with you guys.I’m planning to write a post about one of my favourite slice of life animes,Gin no Saji(Silver Spoon) by Hiromu Arakawa.It should be here soon.I’ll see you later.
Another powerful, emotionally wrecking episode. This week’s Shigatsu wa Kimi no uso leaves behind the super shounen styled piano battles and brings us back to Arima’s trauma. Despite the step down in terms of intensity and production value, this episode was great in it’s own ways – because it’s just so fucking depressing.
But first things first. I totally didn’t like how they treated the Emi development at the beginning of the episode. It was (in my opinion) pretty important material that they didn’t pay much attention to. It was also significantly overshadowed by heavier depressive themes of the 2nd half of the episode. They could have just given Emi a full episode right! The scene of Emi wanting to become a pianist and climbing up and declaring it was supposed to be way more powerful than how they made it seem! And it all seemed lacklustre, drowned by some…
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The story of Porco Rosso begins when director Hayao Miyazaki was approached by Japan Airlines to produce a short 30-to-45 minute movie for the company to show during their flights. “A movie which tired businessmen on international flights can enjoy even with their minds dulled due to lack of oxygen” is a famously what Japan Airlines was looking for. By the time Miyazaki was done, Porco Rosso had not only morphed into a feature-length film, it had become the second flat-out masterpiece of the director’s career.
Along with My Neighbor Totoro and Kiki’s Delivery Service, Porco Rosso forms part of a trilogy of films that I like to refer to as Miyazaki’s “small child” trilogy. Why do I call them that? Well, first of all, they are three of Miyazaki’s most kid-friendly movies, and they were produced one after the other. There is relatively little violence and almost no scary parts in them. I wouldn’t hesitate in…
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