school days stanley clarke
En tant qu'Avatar, la tâche de Aang est de rétablir la paix et l'harmonie entre les quatre peuples. Il sera aidé dans sa tâche par ses nouveaux amis, Katara et Sokka, son bison Appa et son lémur volant Momo, et, plus tard, par une jeune fille maître de la terre aveugle, appelée Toph. Ensemble, ils parcourront le monde pour aider Aang à maîtriser les quatre éléments. À leur suite se lancera toute la nation du feu, dont les plus dangereux représentants sont le prince Zuko et sa sœur, la princesse Azula. Bien que des années d'entraînement méthodique soient requises pour maîtriser une seule des quatre disciplines, Aang doit les contrôler toutes
afin de pouvoir
défaire le seigneur du feu Ozai. Le temps presse. Aang doit accomplir sa mission avant la fin de l'été, lorsque reviendra la comète de Sozin, qui renforcera les pouvoirs des fils du feu et leur permettra certainement de gagner la guerre. Si cela arrive, l'équilibre du monde sera brisé et même l'Avatar ne pourra le rétablir[28]. Personnages[modifier | modifier le code] Article
détaillé : Liste des personnages d'Avatar, le dernier maître de l'air. Personnages principaux[modifier | modifier le code] Aang Âgé de 12 ans, il est le dernier Maître de l'Air et le nouvel Avatar. Ayant passé 100 ans
prisonnier d'un iceberg, dans un état de biostase, il a aujourd'hui 112 ans, mais n'a pas pris une ride.
Anime News Network. April 4, 2016. Archived from the original on April 5, 2016. Retrieved April 4, 2016. ^ "Crunchyroll to Stream Re:ZERO -Starting Life in Another World- Anime". Anime News Network. Retrieved
January 24, 2020. ^ a b "僕だけがいない街 9". Kadokawa (in Japanese). Retrieved January 25, 2020. ^ "Boku dake ga
Inai Machi 1 (Kadokawa Comics Ace) Kei Sanbu BOOK".
[16][18][22] Since most of the works in that genre pursue how perverted or crazy the perpetrators, the murderers, are, Kon focused on "how the inner world of the protagonist, the victim, is broken by being targeted by the stalker" in order to outsmart the audience. [22] On the other hand, the play within a play, Double Bind, is more like a parody than a straight psycho-horror, and he made it with the intention of criticizing Japanese TV dramas that are easily made by imitating Hollywood fads immediately. [22] Kon decided to take on the role of director because he couldn't resist the allure of directing for the first time, and because the original author allowed him to change the story as he liked as long as he kept three things in mind to make the film work: the main character is a B-grade idol, she has a rabid fan (stalker), and it is a horror film. [18][19][24] So he took some elements from the original work, such as the uniquely Japanese existence of idols, the "otaku" fans that surround them, and the stalkers that have become more radical, and came up with as many ideas as possible with the scriptwriter, Sadayuki Murai, with the intention of using them to create a completely new story. [16][18][19] And the film needed a core motif, which had to be found not by the screenwriter or anyone else, but by the director, Kon himself. [16][18][19] So he came up with the motif of two things that should have a "borderline," such as "dream and reality," "memory and fact," and "oneself and others," becoming borderless and blending together, based on the short film Magnetic Rose (from Memories), for which he had written a script, and the suspended manga Opus. [22][23] The concept of "memory and fact" in the plot was inspired by the album Sim City by Susumu Hirasawa. [25] He said, "This album is like a city that was suddenly
created with a high degree of modernity without any evolutionary process. [25] In the meantime, he came up with the idea that "a character more like 'me' than 'I', the protagonist, to the people around 'me' " is created on the Internet without 'my' knowledge. [16][18][19] The character is "the past me" for the protagonist, and this "other me" that should have existed only on the Internet has materialized due to external factors (the consciousness of the fans who
want the protagonist to be like that) and internal factors (the protagonist's regret that she might have been more comfortable in the past). And then the composition that the character and the protagonist herself confronted emerged.
