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But I would’ve been okay with the show if it had stopped there. Instead, Episode 10 onwards indulges in all the trashy tropes that it comments on. Episode 10 throws all subtlety out of the window and pours male gaze all over the show, not to mention indulging in classy humor such as flashing a girl. It’s not even the more sensual kind of fanservice like episode 6’s Utaha scene where she puts on her stockings. It’s the point where the show stops trying and just revels in all the trashy LN tropes we all love and “cleverly” comments on all of them. This show is completely in love with itself and all of the trashy things that it comments on.
The bottom line: if you’re watching this because you heard it was by White Album 2’s author, don’t bother. If you’re watching this expecting a trashy, fanservice-y show, you’re better off watching an actual trashy, fanservice-y show, because shows like those don’t bother pretending that they’re not trashy, fanservice-y crap. Saekano is obnoxious, hypocritical, and pretentious. Avoid it like the big, stinky turd that it is.
(Full review with images here: https://oneofepisodes.

Marama, Frisco, and Tartufo (I, II and III) Three of Nox's minions, which he refers to as his "favorites. " They are first seen during his fight with Grougaloragran and. although their exact nature is unknown, they appear to be a mummified Cra, Feca, and Sacrier, and possess most of those classes' respective powers. They are all destroyed in the final battle. Defeated by Adamaï and Yugo, Marama is finally destroyed by Raze-time; Frisco and Tartufo are destroyed by Amalia. Weedkilios Nox's minion, and a Sadida analog to I, II, and III. His appearance is very different, being that of a dead and decayed Sadida. His eyes are sunken and lifeless, his limbs are emaciated, and his upper body appears to be supported only by a black, spine-like structure. Much of his apparent bulk seems to come from his wood armor.

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2Enquêtes à la cour 3. 4Série d'animation 3. 4. 1Liste des épisodes 4Notes et références Afficher / masquer la sous-section Notes et références 4. 1Notes 4. 2Références 5Œuvres Afficher / masquer la sous-section Œuvres 5. 1Édition japonaise 5. 1. 1Light novel 5. 1. 2Kusuriya no hitorigoto 5. Individual scenes were weighted differently so that the manga can be considered supplementary literature, for example, of the characters' backgrounds. [18] The more obvious themes covered by the film are school bullying and the integration of disabled people in society. The film then tackles handling guilt within a community (although this aspect is explored more in-depth in the manga),[19] redemption for mistakes of the past,[20] forgiveness and self-respect. [21] Director Naoko Yamada explains that bullying should not be considered as the central theme of the film but rather a means to explore Shōya's personality as he gets older. The course of bullying is presented precisely and intuitively, in rapid sequences. It is depicted as a collective failure, starting from school managers and overwhelmed teachers to the class community itself. [22] The film, lastly, deals with the theme of suicide. Yamada said she was "determined to confront the topic with integrity and treat it gracefully", stressing that it "is by any means not the right decision". [23] Stylistic means[edit] The narration of Shōya's story, starting from his past to present, describes how he slips to the lower end of the hierarchy that he established at the beginning. From his perspective, it is shown how bullying can affect an adolescent's psyche and prove his resilience. Shōya faces many challenges: the rejection of Shōko's mother or the avoidance of former classmates, who don't want to confront their past behaviour when he and Shōko work through their past.