bleach thousand year blood war episode 26 vostfr kemonozume wiki
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The soundtrack contributes to the atmosphere a lot too, as Kensuke Ushio, who composed music for anime like Chainsaw Man, A Silent Voice, and The Dangers in My Heart, did a great job yet again here to convey the occasional emotional gut punch, or to get us even more uncomfortable in a horrifying sequence. Everything about the production overall was at a very high level, and after seeing the staff behind it, I can see why. It was truly a legendary team of people producing a passion project from start to finish, with the art director Yuji Kaneko, numerous elite episode directors and storyboarders in Haruka Fujita, in which it’s her first work outside of Kyoto Animation, Kai Ikarashi, who worked on Cyberpunk: Edgerunners as well as the Turning Point episode of Mushoku Tensei, and also Toshimasa Ishii, who directed 86: Eighty-Six. I would also love to shout out Hirotaka Mori, since it was his directorial debut in the anime sphere.The characters were quite a strong part of the series as well, with Kiruko and Maru’s relationship and chemistry being quite the highlight of the show. The dialogue between them felt quite natural and organic, like bros just having a great time together, rather than forcing romance into the dynamic in a contrived manner. That said, as this show has quite a focus on human nature, there is an element of romance there, but it’s more that the show tries to explore human emotions, sexuality, and gender, so how the relationship is handled is quite natural and interesting to watch. They both have past traumas, and I have stated in my past reviews about my disdain for “sob story backstories”— but when an anime can build upon the traumatic past with developments in the present time, it can work well. In this case, it was handled quite well in this anime to create a coming of age narrative for the protagonists, as they tried to find meaning in this mess of a world they found themselves in. The children in the nursery admittedly were quite abundant and difficult to follow along at times, but with some thought, some of them still ended up being very endearing in their own ways along with the protagonists of the outside world. During Z's Ambition Arc, Nami curled and slicked back her orange hair, it being held by red headband. She wears a white, strapless mini dress with frilled edges, gray stockings, and white heels. During Glorious Island, as well as the beginning of Movie 12, she wears a revealing rainbow bikini, a gold necklace, and white sunglasses with purple lenses. Later on, when the crew finds Z, she puts on a large orange jacket. When she's turned into a child, she wears a simple white dress, and later into a similar dress with pink edges and yellow spots. When picking from the gear Mobston offered in preparation for their fight with Z, she chose a green chest plate and armored skirt, a red long-sleeve shirt and helmet with '03' engraved on the side of the latter, and brown boots.
[25] KCEK's last Castlevania game was the acclaimed Circle of the Moon,[78] released as a launch title for the Game Boy Advance in 2001. [79] Circle of the Moon was the first entry to feature Metroidvania gameplay since Symphony of the Night. [25] Igarashi, who was not involved with the game, was critical of Circle of the Moon. [80] In 2002, he retconned Castlevania Legends (1997) and the games developed by KCEK from the series' chronology due to story conflicts, which was met with some resistance from fans. [81] After KCEK was dissolved during 2002, the Game Boy Advance received a second installment, Castlevania: Harmony of Dissonance, now produced by Igarashi and developed by Konami Computer Entertainment Tokyo (KCET). [82] Starting with Harmony of Dissonance, the Japanese games adopted Castlevania as the title for a brief period.