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What depth it lacks in the theme department, it more than makes up for in the character department, and not simply because they brought Hisashi Eguchi back from the grave. Natsume stated in an interview, “Sonny Boy is a simple story about a boy growing up and people drifting apart,” and the only reason he imagined it with such an abstract presentation was simply because “life can be absurd and inexplainable sometimes, and you find yourself asking ‘Why?’ a lot. ” To me, this is very obvious. The tangible plot of Sonny Boy is a straightforward mystery box which just so happens to have a great deal of surreal elements, but this simplicity is a good thing, because with all the symbolism and character details you already have to keep track of, any narrative structure more complex than this would’ve been way too overbearing and—now that I mention it—probably would’ve made the series as confusing as everyone already says it is. What makes the cast so good is a combination of the expressive character animation I mentioned earlier and the fact Natsume personally wrote the script for every episode, making every character feel consistent. I was actually worried about him writing, because while Natsume is a fantastic director, I wasn’t sure how confident I was in his ability to direct AND write his own original project. While his themes weren’t as profound as he might've hoped, his character writing was first-class, and while some episodes were definitely more verbose than necessary, he still proved my worries wrong. There’s a cute, snarky cat girl whose cats work for Jeff Bezos at Nyamazon, an Indian exchange student who literally invents bitcoin, a New York Yankee’s fan who builds a religion around baseball playing monkeys, and a five thousand year old talking dog. This idiosyncratic charm defines nearly every character, and the few exceptions are still well-realized and serve as a much needed anchor.
Rereading everything I’ve written here, I suppose there’s always a chance I’m subconsciously handwaving parts of the show which are obviously lacking, or perhaps I’m similarly making excuses for what the average viewer may see as wasted potential by overselling what already stands out, but I sincerely think this is one of the most visually compelling anime to come out in years, and aesthetically speaking, I’m not sure if an anime has ever resonated with me in quite the same way. I imagine it's a simple lack of all the abhorrent digital filters, aftereffects, bloom, and other post-production alterations which are layered on top of every modern anime, but this show is just SO gorgeous.

Bandai Namco Games. Archived from the original on April 7, 2014. Retrieved April 2, 2014. ^ The Sword Art Online History Chart bundled with the May 2014 edition of Dengeki Bunko Magazine. ^ "Sword Art Online: Hollow Fragment Includes An HD Version Of Sword Art Online: Infinity Moment". Siliconera.

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Retrieved 4 July 2013. ^ Wolfe, Jennifer (5 October 2012). "Season Three of Amazing World Of Gumball Greenlighted". Animation World Network. Archived from the original on 29 October 2013. Retrieved 4 July 2013. ^ "The Amazing World of Gumball - Volume 2 - Out Now on DVD!". Madman Entertainment. Retrieved 7 December 2019 – via Facebook. ^ "Amazing World Of Gumball - Vol 3, The". Sanity. ^ "studioぴえろ 作品年表(オリジナルビデオアニメーション)" [Studio Pierrot Works Chronology (Original Video Animation)] (in Japanese). Studio Pierrot. Archived from the original on December 14, 2009. Retrieved January 3, 2010. ^ Oppliger, John (June 30, 2010). "Ask John: Where are the Yu Yu Hakusho OVAs?".
Suzume decides to give her young self the childhood chair that was given to her, by her mother as a birthday present. She assures her young self the chair will provide her with the strength to overcome the tragedy and continue to grow. The young Suzume becomes energized and decides to leave the Ever-After and return (in the past), leading to her being found by Tamaki twelve years prior. Suzume and Souta leave the Ever-After themselves (to the present), with Souta returning to Tokyo, while Suzume and Tamaki return to Kyushu, revisiting the friends Suzume made along the way. Sometime later, back in her hometown in Kyushu, Suzume makes her way to school. To her surprise, she runs into Souta again, at the same location where they first met. Voice cast[edit] Character Cast Japanese English[4] Suzume Iwato (岩戸 鈴芽, Iwato Suzume) Nanoka Hara[5]
Akari Miura (young)[6] Nichole Sakura
Bennet Hetrick (young) Souta Munakata (宗像 草太, Munakata Sōta) Hokuto Matsumura[7] Josh Keaton Tamaki Iwato (岩戸 環, Iwato Tamaki) Eri Fukatsu[8] Jennifer Sun Bell Minoru Okabe (岡部 稔, Okabe Minoru) Shota Sometani[8] Roger Craig Smith Rumi Ninomiya (二ノ宮 ルミ, Ninomiya Rumi) Sairi Ito[8] Amanda C. Miller Chika Amabe (海部 千果, Amabe Chika) Kotone Hanase[8] Rosalie Chiang Tsubame Iwato (岩戸 椿芽, Iwato Tsubame) Kana Hanazawa[8] Allegra Clark Hitsujirō Munakata (宗像 羊朗, Munakata Hitsujirō) Matsumoto Hakuō II[8] Cam Clarke Tomoya Serizawa (芹澤 朋也, Serizawa Tomoya) Ryunosuke Kamiki[9] Joe Zieja Daijin (ダイジン) Ann Yamane[10] Lena Josephine Marano Miki (ミキ) Aimi[11] Mela Lee Production[edit] Development[edit] The 2011 Tōhoku earthquake and tsunami served as an influence for the film. The stranded catamaran Hamayuri [ja] in this aerial image taken in Ōtsuchi, Iwate became the prototype of the stranded vessel appearing in the afterlife scene. Makoto Shinkai conceived the idea for Suzume while he was traveling around Japan to give talks about his past works. He said, "In Japan, it is customary to hold a jichin-sai [ja] or groundbreaking ceremony, before construction begins on a new building or home, but we do nothing when we close them down.