solo leveling chap 111
It’s deep, actually, the characters don’t have obvious growth because they aren’t obvious archetypes! Look at all these metaphors you’re ignoring!”
Yes, this is a show where a lot of context is very blink or you’ll miss it. Every episode is more or less its own story with a distinct message. You never know what you’re gonna get and I don’t intend to spoil that here. It can be pretty fun trying to break the individual messages of episodes, but a lot of these focusing choices, which I know exist the way they are because of Sonny Boy’s anime-original status, are easy to be overshadowed by the influx of lore, as well as Natsume’s visual direction.
Sonny Boy’s at least a show that’s easy to appreciate on a stylistic level. Eguchi Hisashi, who hasn’t designed anime characters since the turn of the millennium, created a very distinctly designed cast in spite of their similarities from the head down. The way characters’ faces look avoids following the lazy expectation for modern anime art direction. Most episodes have some sort of impressive visual flex, like
Episode 2 with the atmosphere established by the paper-looking blue fire, though particularly Episode 5 and Episode 8 for their specific style of animation and shading when distinguishing the mental realms. The mental
twisting of many dimensions of pattered color is a particular animation highlight whenever it comes up, the bus flying through it in Episode 9 like it were The Magic School Bus’s serious YA adaptation. It does tend to shortcut with several static shots of faceless characters, but it has an especially unique choice for background characters in them being shaded like the type of “anime minimalist wallpaper” you can easily find on Google Images. There’s this scrapbook uncanniness to some of the scenes while avoiding the scrunched-up outlines often
seen on characters out of focus, adding to the many wallpaper-worthy shots appearing throughout.
Unsurprisingly since overseas studios in Seoul, South Korea, work on it such as MOI Animation, Inc. , Lotto Animation,and DR Movie Co. , Ltd. , the latter
which have work with Japanese companies on anime. One of the Dexter's Laboratory Cartoon Network Groovies is styled in an animesque style.
Dungeons & Dragons (1983) was animated by Toei Animation from beginning to end, and while Marvel/TSR claim to have made sure to keep all designs as American-styled as possible, guest characters often look like they jumped straight out of an anime. While Frankenstein Jr. didn't have an especially anime-like art style, it was one of the first Western series to be inspired by anime—specifically, contemporary Super Robot works such as Gigantor. Gargoyles uses this trope fairly obviously, and has its share of Japanese directors and designers. G. I.
^ Hodgkins, Crystalyn (November 7, 2021). "Comikey Licenses 10 New Manga
Including Arte, Fenrir, Hero Classroom".
Anime News Network. Retrieved December 8, 2021. ^ Mateo, Alex (March 4, 2022). "Square Enix Manga & Books Licenses Final Fantasy VII Remake: Traces of Two Pasts Novel, YoRHa – Pearl Harbor Descent Record, More Manga". Anime News Network. Retrieved March 4, 2022. ^ 好きな子がめがねを忘れた 1 (in Japanese). Square Enix. Retrieved 2021-02-05.
