It turns out I don't really like these two.

I need to caveat this post by acknowledging that I effectively don't know anything about the Higurashi franchise. I initially tried watching the first anime back in 2006, but dropped it after (I think) the first episode because I didn't find it interesting. It subsequently ran for 26 episodes, then 24 more in 2007. Somewhere in there we'll also find 11 assorted episodes that dropped at various times before Higurashi no Naku Koro ni Gou started in 2020.

Satoko seems like a pleasant kid who probably has a stable home life.

I was aware of the franchise's popularity, and knew that Higurashi somehow fit into a much larger extended universe which included properties such as Umineko no Naku Koro ni. I basically don't know anything about these other titles either, though. Nevertheless, I decided to give the 2020 anime a chance because all these factors must mean it's got to have something going for it, right? Besides, it meant the return of Yukino Satsuki, and I love me some Yukino Satsuki. I'm also a fan of Nakahara Mai, so how bad could it be?

I guess this is not a "NIPAH" sort of moment.

Well, getting through the first 13 episodes of Higurashi no Naku Koro ni Gou was a slog. I still have no idea how much it departed from the previous anime. I also don't know whether watching the previous anime is really required. Likewise, I don't know how necessary it is to have read the visual novels first either. Approaching the 2020 anime strictly as a neophyte anime-only viewer, I was teased something special on occasion, but lacked the proper context to fully appreciate those moments. On the other hand, the show regularly confronted me with my ever-increasing dislike for Keiichi, Rena, and Detective Ooishi.

I'm pretty sure this qualifies as a huge spoiler.

Fortunately, episode 14 and all subsequent episodes focused on other characters. Suddenly, Keiichi was no longer the primary protagonist, and Higurashi is actually pretty good! I can't claim I really understand what's going on, but it's at least a lot more enjoyable and interesting to watch than everything I've seen prior. In fact, I'm even looking forward to the next cours which is slated to start in July 2021.

Maybe not as big as this shot.

Does it really take Higurashi 74 episodes to get good? Presumably not. But if the previous anime is anything like the present anime, then I feel comfortable about assuming it does not get good until Keiichi stops being its main character. If it turns out episodes were centered around him for the previous anime's entire run—and there isn't a departure until episode 14 of Gou—then, yeah, it doesn't get good until after 74 episodes.

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.