It ain't easy being a princess these days.

I'm watching two shows this season with fairly similar basic plots. The teenage princesses in Akatsuki no Yona and Nanatsu no Taizai are both assembling teams of skillful warriors in order to defeat usurpers. That's about it with regard to their similarities, though. The remainder of this blog entry deals with themes and elements found in the source material for both anime. Although I'll avoid explicit spoilers, readers who wish to avoid learning anything in advance about either of these shows should probably just stop reading and watch both anime to develop their own comparisons. They've got princesses gettin' the band back together! Give 'em a shot!

Never gonna happen, Chiyo.

I watched two shows during summer 2014 that featured male leads who were committed to their work above all else (three, if you consider Inaho instead of Slaine the male lead of Aldnoah.Zero). Despite being the author of a romance manga, Chiyo's titular crush in Gekkan Shoujo Nozaki-kun failed to see her as a potential love interest at all even after working in close proximity with her for months. Normally, this should probably be a pretty heavy blow to Chiyo's self-esteem, but basically all of Nozaki's interests are related to his manga itself, so I guess it's somewhat less insulting that even teenage hormones weren't enough to interest him in her.

It's not a date.

As I mentioned earlier, Seishuu's case in Barakamon is a bit less straightforward because he essentially has no suitable potential love interests to pursue. Naru and Hana are seven, the nurse is married, and everyone else is old. Well, not everyone else. There's still Miwa and Tama, the middle school girls who hang around him every day. Both of them are appalled, by the way, that he appears not to have had any interests other than calligraphy even when he still lived in the big city. It's canon.

Sailor V is here to chase ikemen and kick crooks in the neck.
And she's all out of ikemen.

Bishoujo Senshi Sailor Moon is one of those franchises that I sort of want to like but can't genuinely enjoy most of the time. This is reflected in my halfhearted efforts to watch the original series (stalled at episode 93 for years). I'm also mostly unimpressed with the original manga, with the exception of Codename Sailor V. I'm totally down with Sailor V, mostly because (as I am wont to attest on The Twitter), she's sort of fascist. I also find Aino Minako (at least in her garish Sailor V form) a more engaging protagonist than Tsukino Usagi. Sailor Venus isn't as good, but is still okay providing she's kicking crooks in the neck instead of thrashing dudes with her "Love Me" chain (which, incidentally, has been redesigned to look like a long string of, um, round beads, at least in the Crystal Marital Aids promo art). Also, Artemis > Luna.

Does this count as a Meet Cute?

Technically, Barakamon is not a show about calligraphy, but rather a show about a calligrapher. It's pretty refreshing because it's one of those increasingly rare anime that's about (1) an adult who is (2) good at something because (3) he works hard at it rather than by virtue of being Anime Jesus. In fact, one of the characters in the show postulates that having the discipline to work hard is a talent itself.

Relax, it's cool. He's her teacher.

I'm watching fewer shows autumn 2013 than I usually do. I suppose on average it's still about one episode each night, but with less time watching anime and less attention devoted to The Twitter, I do have noticeably more time to pursue other interests—to include updating an anime blog that's nearly in its 13th year.

Oh. So that's why Hato is so broken.

I have been very impressed with the work of Noto Mamiko this season. She has always been one of my favorites, although I prefer her DARK MAMIKO voice to her soft Shimako types for which she is better known. I was starting to fear that she had been relegated to playing matronly characters as a step towards retirement (voluntary or otherwise). However, she blazed across Genshiken Nidaime at full boost in episode 10 as Hato's old senpai—a minor character, but a powerful one nevertheless.

She's not even afraid of lightning striking her umbrella.

More significantly, her work as Suzuki "Benten" Satomi in Uchouten Kazoku has been MAMIKORE. She's a capricious sex bomb who is too dangerous to be challenged. The presence she lends to the character is particularly pronounced considering how few other female characters there are in the show. She's quite a contrast with both the young (and predictably precocious) Kaisei and with the crossdressing tanuki mom who seems to arouse middle-aged human and tanuki males alike. Benten, though, seems capable of terrifying basically everyone with little effort. Maybe it's because she's not afraid of thunder.

This is what I thought Myself ; Yourself was going to be about.

Taking a break from the summer season's offerings, I decided to watch Myself ; Yourself strictly based on the first episode's opening scene. From the looks of it, it was another low-brow harem comedy involving Male Protagonist who is separated and later reunited with childhood friends and other cookie-cutter stereotypes. Maybe something like Gift ~eternal rainbow~ except not God awful. I get in the mood for stories like that every once in a while; depending on the execution, I find them to be amusing diversions. Hence why I enjoyed Tokimeki Memorial ~Only Love~ so much.

Also this.

So while Myself ; Yourself does not have superfluous tildes, it does contain ridiculous punctuation in its title, and the opening minutes of the first episode feature a character boasting the squeakiness power of 10 anime girls. I figured I knew what I was getting myself into, but I was wrong. This is not to say that Myself ; Yourself goes all Saikano or Narutaru or even all ef ~a tale of memories~ on us, but it does offer up more traumarama than I was expecting.

Hey, it's a Star of David clock.

On a whole, I found Myself ; Yourself a surprisingly decent show. Good, even, if you enjoy teen melodrama. Male Protagonist is thankfully not an ass clown, and most of his friends are all right, although I think the twins are a little too close.

Don't worry, Shuu isn't really into younger girls.

Most of these screenshots involve the most conventional of the various subplots—the one closest to what I was expecting when I started Myself ; Yourself in the first place. Even that was executed well. The show would be just fine as another harem comedy layup, but it aspires to be something more and actually does not ruin itself trying.

This is not a Danbooru breast-comparison chart.

I'm re-watching Azumanga Daioh again. This time I'm leaving my ADV DVDs on the shelf, and just watching the Triad fansubs—partially because of ADV's "MISS SAKAKI" faggotry, but also because I find it entirely too inconvenient at the moment to swap DVDs and cycle through pointless menus, etc.

Tomo, Yomi, and Chiyo.

E/N Warning: I originally watched Azumanga Daioh during an especially demanding time. I didn't really have time for, well, anything...but I sacrificed sleep to watch episodes of Azumanga Daioh because the show always made me laugh my ass off.

Sayaka from Oku-sama wa Mahou Shoujo.

As an aside, those of you who really enjoy the music in Azumanga Daioh are encouraged to give another J.C. Staff series a try: Oku-sama wa Mahou Shoujo. It's a vastly underrated series, which suffers because it didn't capture the attention of a better-known fansubbing group, and because its initial episodes are a little overt with the fan service levels. Oku-sama wa Mahou Shoujo is no Azumanga Daioh to be sure, but it is amusing enough, and the background music is very similar.

Osaka, Chiyo, and Sakaki.

Actually, I ended up marathoning Azumanga Daioh before I finished writing this entry. My original review still stands. I don't think I even have much to add, except perhaps this:

In light of this year's fervor over Suzumiya Haruhi no Yuuutsu, it is important to remember the tremendous fanbase devoted to Azumanga Daioh during its prime. That Bandai enjoyed great success with its The Melancholy of Haruhi Suzumiya launch compared to ADV's Azumanga Daioh failure is at least partially attributable to the degree to which ADV fucked it up.

Haruhi.

Certainly the timing of the sales and the expansion in the market itself over the years contributed to the differences in the two North American releases, but it should be obvious to fans of both shows that ADV's stumbles marketing Azumanga Daioh coupled with the MISS SAKAKI-type curiosities seriously cost ADV a tremendous opportunity. I'm not going to break down the differences point by point, but a large one to consider is Bandai's (at least tacit) willingness to embrace (and market directly to) fans of the show who had already seen it via downloading fansubs or streaming YouTube—a sharp contrast to ADV's doctrines.

Yukari and Nyamo.

Think of it as the triumph of Web 2.0 mumbo jumbo versus the old and busted obstinate way of doing things. ADV, like everyone else, knows fansub-watchers buy DVDs. Think of it this way: Every series offered with a "collector's box" edition of the set's first DVD is obviously geared towards people who have already watched and enjoyed the show. Who else would buy the collector's box edition of a show they had never seen? Wouldn't it make more sense to offer the collector's box with the last DVD? And yet, although ADV will grudgingly acknowledge the inspired-by-fansubs market exists, it won't (or at least didn't) embrace it.

Tsuruya.

Osaka is actually a genius. I swear.

For neophyte anime fans who are only still reading this because I mentioned The Melancholy of Haruhi Suzumiya, you should also watch Azumanga Daioh because Tsuruya's seiyuu, the megas-talented Matsuoka Yuki, also voiced (the vastly different) Osaka.