yuri on ice season 2 teaser
It was about an unemployed and bored of his own
life superhero, casually defeating any monster that attacked him. And the
name of that anime was. Tentai Senshi Sunred, a very fun and self-aware plotless comedy that even bothered to make the main villains seem like sympathetic fellows, instead of generic monsters of the week that get blown up in a few seconds. And it managed to do all that with a low budget. Unfortunately, almost nobody knows of it and the rest don’t talk about it because it didn’t have
pretty colors. But fear not, since quite recently we had another show about superheroes and this one had lots of pretty colors. It was also a deconstruction of the western superhero formula, a thought-provoking masterpiece that was constantly subverting everything you knew about the genre and was presenting
things in a way that had never been done before. The name of that show was.
The
baby talk version of -sama is -chama (ちゃま). There are even baby talk versions of baby talk versions. Chan can be changed to -tan (たん), and less often, -chama (ちゃま) to -tama (たま). Familial honorifics[edit] "Nii-san" redirects here. For the car brand, see Nissan. Words for family members have two different forms in Japanese. When referring to one's own family members while speaking to a non-family-member, neutral, descriptive nouns are used, such as haha (母) for "mother" and ani (兄) for "older brother". Honorific forms are used when addressing one's own family members or addressing or referring to someone else's family members. Using the
suffix -san, as is most common, "mother" becomes okāsan (お母さん) and "older brother" becomes oniisan (お兄さん). The honorifics -chan and -sama may also be used instead of -san, to express a higher level of closeness or reverence, respectively. The general rule is that a younger family member (e.
Takahata has his strengths, from his interest in realistic imagery to his sense of social responsibility as a director, yet here his style
feels neutered to a point where little personality can be found in the directing. He’s not Miyazaki, but the film appears contempt in what it wants to achieve, never aiming for
more than the core emotional attachment felt though the script. Each scene is carefully calculated, but never ambitious in their purpose. Even the cheerful moments only balance out the hell Seita and Setsuko are in, never acting as driving components for either character. The music also does little to help the experience move along, rarely ever effective in smoothing out transitions or amplifying sentiment in an authentic way. It unironically makes the most emotional moments come off more canned than real.
