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On the other hand, Kiruko is in a complicated situation with Maru, and has a past that is too heavy for her to handle alone. As a result, he enjoys the two and thinks it is a mutually complementary relationship. [21] Tokio is seen as a pure adolescent-like character. She has a different kind of purity than Maru, and he gets the impression that Maru has managed to maintain his innocence even though he has been through a lot of hardships, but Tokio has lived without being exposed to external pressure. Mori think he is a character that symbolizes the interest and disgust of various things that are born in adolescence. [21] Mori believes that the original work already contains the message that Ishiguro wants to convey, so the production side does not add anything else as a plus, but this work really has many elements, such as disasters, technology, and so on. He also thinks it would be nice if the viewers could choose what to pick up among the scattered elements and how to enjoy it, and feels that it is a work that has the bosom to be able to do that. increase. That is why Mori think it is his responsibility in making anime to properly convey that in a way that does not distort it too much. The hints are drawn from the first episode, so Mori is glad if the audience could see it from various perspectives, such as being curious about the mystery or liking the world view of Maru and Kiruko traveling through the ruins. As a production side, the production of the first episode was the most difficult.Due to the undemanding body mechanics involved in execution, the tomahawk is employed by players of all sizes and jumping abilities. [citation needed] Because of the ball-security provided by the use of both hands, the two-handed tomahawk is a staple of game situations—frequently employed in alley-oops and in offense-rebound put-back dunks. In one common variation, a 360° spin may be completed prior to or simultaneously with the tomahawk. Circa 2009, independent slam dunker Troy McCray pioneered an especially complex variant of the dunk: once the tomahawk motion is complete, instead of slamming the ball in the rim, a windmill dunk (see below) is then performed. [38] Windmill[edit] Before takeoff, or at the onset of the jump, the ball is brought to the abdomen and then the windmill motion is started by moving the ball below the waist according to the length of the player's fully extended arm. Then following the rotation of the outstretch arm, the ball is moved in a circular motion, typically moving from the front towards the back, and then slammed through the rim. Although, due to momentum, many players are unable to palm the ball through the entire windmill motion, the dunk is often completed with one-hand as centripetal force allows the player to guide the ball with only their dunking hand. In some instances sticky resins or powders may be applied to the palm, these are thought to improve grip and prevent loss of possession. [39] Amongst players, subtle variations in the direction of the windmill depend on bodily orientation at takeoff and also jumping style (one-foot or two-feet) in relation to dominant hand. There are a number of variations on the windmill, the most common being the aforementioned one- or two-hand variants. In these cases, the windmill motion may be performed with the previously discussed one-arm technique and finished with one- or two-hands, or the player may control the ball with two hands, with both arms performing the windmill motion, finishing with one or both hands.
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