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^ McNeil, Sheena (December 7, 2021). "Mashle: Magic and Muscles Vol. 2". Sequential Tart. Archived from the original on December 24, 2021. Retrieved December 24, 2021.
[SMALL-TEXT]]nonton isekai nonbiri nouka episode 8 sub indo
Kadokawa Corporation. January 30, 2017. Archived from the original on June 30, 2017. Retrieved June 24, 2020. ^ Stevens, Josh A. (March 23, 2019). "Re:Zero Season 2 Anime Finally Announced". Anime UK News. Archived from the original on November 17, 2019. Retrieved November 17, 2019. ^ Chapman, Jacob (August 20, 2016). [12] Both animators played a pivotal role in creating fluid, realistic animations of the characters in the animation. [13][14] Takahata drew from his personal experience to create a realistic depiction of the air raid on Okayama. In an interview, he criticized TV shows and movies that had recreated images of incendiary bombs, "They include no sparks or explosions, I was there and I experienced it, so I know what it was like. "[15][16] The film features Niteko-ike pond (ニテコ池), which is described as the "birthplace" of the novel and where Nosaka conducted his daily routines of dishwashing and personal ablutions. Notably, during the final days of the Pacific War, Nosaka, then 14 years old, sought refuge with his younger sister-in-law in a relative's house and nearby bomb shelters near the pond. [17][18] The location and background in the film is based on a style created by 18th century Japanese artist Hiroshige and his follower Hergé, who created Tintin. [19] Film critic Roger Ebert examines the contrast of the style of the background in comparison to the cartoonish animation of the characters. He claims that there is an unusual amount of detail in the evocative landscape, while the characters are a take on the modern Japanese animation with childlike bodies and enormous eyes. The depiction of Seita and Setsuko have Ebert believe that this deliberate animation style embodies the true purpose of animation, which is to recreate the raw emotion of human life by simplifying reality to emphasize ideas. [20] He concludes his analysis with saying, "Yes, it's a cartoon, and the kids have eyes like saucers, but it belongs on any list of the greatest war films ever made. "[19] According to Wendy Goldberg, Takahata's film also includes criticism of the emphasis on nationalism in Japan.[8][10] They can be applied to either the first or last name depending on which is given. In situations where both the first and last names are spoken, the suffix is attached to whichever comes last in the word order. Japanese names traditionally follow the Eastern name order. An honorific is generally used when referring to the person one is talking to (one's interlocutor), or when referring to an unrelated third party in speech. However, it is dropped by some superiors when referring to one's in-group or informal writing. It is never used to refer to oneself, except for dramatic effect or some exceptional cases. Dropping the honorific suffix when referring to one's interlocutor, which is known as to yobisute (呼び捨て), implies a high degree of intimacy and is generally reserved for one's spouse, younger family members, social inferiors (as in a teacher addressing students in traditional arts), close friends and confidants. Within sports teams or among classmates, where the interlocutors approximately are of the same age or seniority, it can be acceptable to use family names without honorifics. [1] Some people of the younger generation, roughly born since 1970, prefer to be referred to without an honorific. However, dropping honorifics is a sign of informality even with casual acquaintances. When referring to a third person, honorifics are used except when referring to one's family members while talking to a non-family member or when referring to a member of one's company while talking to a customer or someone from another company—this is the uchi–soto (in-group / out-group) distinction.