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It does tend to shortcut with several static shots of faceless characters, but it has an especially unique choice for background characters in them
being shaded like the type of “anime minimalist wallpaper” you can easily find on Google Images. There’s this scrapbook uncanniness to some of the scenes while avoiding the scrunched-up outlines often seen on characters out of focus, adding to the many wallpaper-worthy shots
appearing throughout.
At times the visual direction could be dull when not much was happening on screen, when it just hard cut between cast members starring into the screen trying to comprehend the
tangle of plot with music missing, but it feels like that freedom of design is what Shingo Natsume saw with this entire series.
This might sound negative, and as far as personal investment in the choices made with the runtime that exists, it is, but I implore you to check out this show if you think its distinctiveness appeals to you. What I’ve been saying about how loose and overambitious the writing feels in light of the visual pizazz is something that only could’ve come
from an anime original, a longtime animator writing a script for the first time with that rawness and passion radiating forward at the extent of understanding how to meet the audience halfway. That freedom is worth cherishing. I’m grateful that shows like Sonny Boy are allowed to exist. I appreciate the light hints that the show leaves for people to ponder well after an episode ends. But in its current state, I believe the looseness of its execution precludes me from coming out as infactuated as Natsume wants me to be. Reviewer’s Rating: 6 What did you think of this review? Nice 0 Love it 0 Funny 0 Confusing 0 Informative 0 Well-written 0 Creative 0More reviews by SunlitSonata (29) Show allRead moreShow lessOpen Gift Report Sep 30, 2021 Mario_Isla Not Recommended Funny I don't know why this show has good reviews, it's one of the worst shows ever made.
The story its a lot of no sense points, characters that appear or disappear without explanation and hypothesis that guides to nothing, but who cares? That is the goal of this pretentious show.
The mental twisting of
many dimensions of pattered color is a particular animation highlight whenever it comes up, the bus flying through it in Episode 9 like it were The Magic School Bus’s serious YA adaptation. It does tend to shortcut with several static shots of faceless characters, but it has an especially unique choice for background characters in them being shaded like the type of “anime minimalist wallpaper” you can easily find on Google Images. There’s this scrapbook uncanniness to some of the scenes while avoiding the scrunched-up outlines often seen on characters out of focus, adding to the many wallpaper-worthy shots appearing throughout.
At times the visual direction could be dull when not much was happening on screen, when it just hard cut between cast members starring
into the screen trying to comprehend the tangle of plot with music missing, but it feels like that freedom of design is what Shingo Natsume saw with this entire series.
This might sound negative, and as far as personal investment in the choices made with the runtime that exists, it is, but I implore you to check out this show if you think its distinctiveness appeals to you. What I’ve been saying about how loose and overambitious the writing feels in light of the visual pizazz is something that only could’ve come from an anime original, a longtime animator writing a script for the first time with that rawness and passion radiating forward at the extent of understanding how to meet the audience halfway.
[7] Arakawa said the manga authors Suihō Tagawa and Hiroyuki Eto are her main inspirations for her character designs; she describes her artwork as a mix of both of them. She found that the easiest of the series's characters to draw were Alex Louis Armstrong, and the little animals. Arakawa likes dogs so she included several of them in the story. [13] Arakawa made comedy central to the manga's story because she thinks it is intended for entertainment, and tried to minimize sad scenes. [7] Conclusion[edit] When around forty manga chapters had been published, Arakawa said that as the series was nearing its end and she would try to increase the pace of the narrative. To avoid making some chapters less entertaining
than others, unnecessary details from each of them were removed and a climax was developed. The removal of minor details was also necessary because Arakawa had too few
pages in Monthly Shōnen Gangan to include all the story content she wanted to add. Some characters' appearances were limited in some chapters. [14] At first, Arakawa thought the series would last 21 volumes but the length increased to 27. Serialization finished after nine years, and Arakawa was satisfied with her work because she had told everything she wanted with the manga. [12] During the development of the first anime, Arakawa allowed the anime staff to work independently from her and requested a different ending from that of the manga.
