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Retrieved July 17, 2023. July 2023: Hazra, Adriana (August 7, 2023). "One Piece Ranks #1 on U. S. Monthly Bookscan July List". Anime News Network. Archived from the original on January 26, 2021. Retrieved January 8, 2021. ^ Paquot, Valentin (March 14, 2019). "Six mangas à découvrir au Salon du livre 2019". Le Figaro (in French).

 Chapter 1024.

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Bebop was a trend-setting marriage of anime traditions and Tarantino-inspired cultural hodgepodge — it could be said that Pulp Fiction influenced Cowboy Bebop as much as Cowboy Bebop influenced Kill Bill — and Samurai Champloo continues in this meta style, taking it even further.
Of course, Cowboy Bebop was not Shinichiro Watanabe's first foray into resonant crossover in anime: Macross Plus was a monolithic amalgamation of Top Gun's hot-headed romantic drama and sci-fi tropes including a pop-idol hologram version of 2001: A Space Odyssey's HAL, in turn influencing the famous cyberpunk writer William Gibson to write Idoru, a novel about a Japanese virtual idol and her marriage to a real-life rock star. Of course, all of this was before the invention of the Vocaloid, though I suppose the future imagined by Watanabe and Gibson was, in a way, not so far off.
Anyhow, now that I've finished my little history lesson — which I feel is relevant, as having such a perspective may deepen your enjoyment of Samurai Champloo as much as it did for me — let's continue on to the review. In light of all the prescient futurism found in Watanabe's other works, it's rather interesting that he decided to shift his focus to the past and present. Of course, the world's future is always in its past. and what we have here is, in a nutshell, Edo-period Japan: the remix. Baseball, tagging/graffiti, Van Gogh, zombies, and Catholicism are tossed into the "chanpurū" with a whole lot of revised Japanese pseudo-history. As such the medley of influences and tangential tale-spinning occasionally smacks of filler, but one would do well to understand that this show is simply all /about/ the filler — and this is all for the better, because Samurai Champloo is at its freshest and most hilarious when it's veering off the rails. [citation needed] A new and short-lived option for 1970 was the Vacuum Operated Exhaust (VOE), which was vacuum actuated via an under-dash lever marked "exhaust". The VOE was designed to reduce exhaust backpressure and to increase power and performance, but it also substantially increased exhaust noise. The VOE option was offered from November 1969 to January 1970. Pontiac management was ordered to cancel the VOE option by GM's upper management following a TV commercial for the GTO that aired during Super Bowl IV on CBS January 11, 1970. In that commercial, titled the "Humbler"(an advertising tagline Pontiac used in print ads to describe all 1970 GTOs), which was broadcast only that one time, a young man pulled up in a new GTO to a drive-in restaurant with dramatic music and exhaust noise in the background, pulling the "exhaust" knob to activate the VOE and then left the drive-in after failing to find a street racing opponent. That particular commercial was also canceled by order of GM management. [19][20] Approximately 233 1970 GTOs were factory built with this option including 212 hardtop coupes and 21 convertibles, equipped with either four-speed manual or Turbo Hydra-Matic transmissions. While allegedly all were equipped with the standard GTO "YS" 400ci 350 hp V8 engine, according to the 1970 Pontiac Accessorizer book, VOE was available with the 455 V8. The Accessorizer book does say that VOE was not available with either 400 cubic inch engines with Ram Air, though it does not specify whether it was unavailable with the 455 when equipped with the optional Ram Air induction components. The particular GTO in the commercial was Palladium Silver with a black bucket seat interior. It was unusual in several respects as it also had the under-dash "Ram Air" knob just to the right of the VOE knob, and it had "'69 Judge" stripes, as a few very-early 1970 GTOs could be ordered with.

" It's harsh, but funny and comical at the same time.
Even with studio Millepensee and its studio-exclusive director of Shin Itagaki, what's up with the art and animation, almost like they're being amped up to 11? Yuuya's character, for one, feels over-designed just for the females to point out his defining features, from the spiky hair to the overzealous 6-pack body that is a literate chick magnet. And this isn't just exclusive to Yuuya alone, as EACH AND EVERY character is given the same treatment from character designer-cum-chief animation director Hiromi Kimura, whose last work was on Summer 2019's Cop Craft under the same studio. Honestly, the visuals and animation are not bad, but there is just so much crass detail that I had to squint and look elsewhere.
Yikes, the music is generally bad. This is Japanese rock band Tsukuyomi's debut song for Iseleve's OP, but to me, it's just pure noise and screeching to my ears, and I can even consider it to be one of the worst OPs I've ever heard.