Oh thank god, finally something relatively easy to write about for a change. Now, normally I wouldn’t even write about this show in a separate post – I would include it in a catch-all post with the original Idolmaster anime and Cinderella Girls – but as I just mentioned, I wanted (needed, even) something easy to write about, and Puchimas fits that bill quite nicely. It also has very little to do with the story of the original anime, which I could say is another justification for making this a separate post.
At one point, Prison School was my favourite manga. There were several reasons for this: First, I found the art incredibly good, maybe even better than the art in One Punch Man (Yusuke Murata’s version). 200+ chapters later, I still find the art in Prison School very impressive, but it’s not as mind-blowing anymore, probably because I’ve come to appreciate unique art styles (ONE’s Mob Psycho 100, for instance) more than sheer, raw detail. Secondly, I was a huge fan of Prison School’s way of making anything and everything as dramatic as physically possible (and often even impossibly dramatic). This aspect, however, did not really survive into the later story arcs, at least not for me. Sure, there are some very funny moments occasionally, but in general I feel like the humour has stagnated a bit.
It took me a long time to watch Princess Tutu from start to finish, and not just because it’s directed by Junichi Satou and that this tends to happen when I try to watch his shows (the Aria series and my rewatch of Tamayura, to be specific). It was also because Princess Tutu is so extremely dense when it comes to, well, almost all aspects of it. The first thing one might notice is the way the background of the story is set up: It’s more or less literally a fairy tale.
Well, this is certainly not the easiest show with which to return to blogging after a relatively long hiatus (most of the summer). Without a doubt, this difficulty stems from the fact that I hold Planetes in such high regard, not only as an anime but as a sci-fi show in general. Its setting is not the most otherworldly or rich in extravagant fictional elements, but that is precisely its strength. It’s about people, just like you and me, cleaning up debris, that actually exists in reality, from Earth’s orbit, using spaceships and -suits that are only slightly beyond technology we actually possess currently.
After a two-year-long break, I’ll be going back to university this semester, and so I am afraid that I may not have much time for blogging anymore. I haven’t yet decided whether I’ll be going on a hiatus or not, but I want to inform you that the possibility exists now that I’m no longer a NEET. However, because doing this is so much fun, I’m probably going to spend a lot of time blogging about the Fall season anyway.
Fun fact: I’ve tried writing about this show several times before, and nothing’s ever come of it. Let me assure you, however, that that’s not because I can’t think of anything to talk about regarding the show. Quite the opposite, in fact. my previous essays failed because I didn’t know where to start, and I always felt like I couldn’t say enough. And I still have that problem. I don’t know if this post will be up to my standards, but I will at least try.
Unlike Paprika, I find Perfect Blue very difficult to write about. The two movies are similar in that they both obfuscate the line between reality and fantasy, and their chronologies are not necessarily continuous. To give credit where it’s due, Satoshi Kon’s movies all handle these kinds of elements masterfully, resulting in as little confusion as possible, but I do have to admit that I found Perfect Blue difficult to follow the first time I watched it. And a part of the reason for that is that I had a hard time grasping what the movie was really about.