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In contrast, the writer took three or four days to create a chapter on some occasions, while on others they took a month. Obata said that his schedule remained consistent except when he had to create color pages. [10] Ohba and Obata rarely met in person during the creation of the serialized manga; instead, the two met with the editor. The first time they met in person was at an editorial party in January 2004. Obata said that, despite the intrigue, he did not ask his editor about Ohba's plot developments as he anticipated the new thumbnails every week. [7] The two did not discuss the final chapters with one another and continued talking only with the editor. Ohba said that when they asked the editor if Obata had "said anything" about the story and plot, the editor responded: "No, nothing". [9] Ohba claims that the series ended more or less in the manner that they intended for it to end; they considered the idea of L defeating Light Yagami with Light dying but instead chose to use the "Yellow Box Warehouse" ending. According to Ohba, the details had been set "from the beginning". [8] The writer wanted an ongoing plot line instead of an episodic series because Death Note was serialized and its focus was intended to be on a cast with a series of events triggered by the Death Note. [11] 13: How to Read states that the humorous aspects of Death Note originated from Ohba's "enjoyment of humorous stories".

In contrast, the writer took three or four days to create a chapter on some occasions, while on others they took a month. Obata said that his schedule remained consistent except when he had to create color pages. [10] Ohba and Obata rarely met in person during the creation of the serialized manga; instead, the two met with the editor. The first time they met in person was at an editorial party in January 2004. Obata said that, despite the intrigue, he did not ask his editor about Ohba's plot developments as he anticipated the new thumbnails every week. [7] The two did not discuss the final chapters with one another and continued talking only with the editor. Ohba said that when they asked the editor if Obata had "said anything" about the story and plot, the editor responded: "No, nothing". [9] Ohba claims that the series ended more or less in the manner that they intended for it to end; they considered the idea of L defeating Light Yagami with Light dying but instead chose to use the "Yellow Box Warehouse" ending. According to Ohba, the details had been set "from the beginning". [8] The writer wanted an ongoing plot line instead of an episodic series because Death Note was serialized and its focus was intended to be on a cast with a series of events triggered by the Death Note. [11] 13: How to Read states that the humorous aspects of Death Note originated from Ohba's "enjoyment of humorous stories".

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Fuu also reveals she lied about the coin toss result, which briefly annoys Mugen and Jin. Recovered from their final fight, the three part ways grateful for their shared adventure. Setting and themes[edit] Series director Shinichirō Watanabe defined the central theme of Samurai Champloo as the portrayal and acceptance around death, themes he had previously explored in his science fiction series Macross Plus (1994) and Cowboy Bebop (1998). [5] Another theme outlined in the series pitch was individuality and finding one's unique identity. [6] The series is set in Edo period Japan, roughly sixty years after the end of the Sengoku period. [7] While a historical time period, the anime does not focus on historical detail beyond minor inclusions and references, mainly using contemporary-style dialogue and behavior. [5][8] A conscious inclusion was emphasising cultural acceptance and tolerance of minorities including the indigenous Ainu people, foreigners, LGBT people, and Christians; the historical Edo period was a time when Japan was highly structured, conformist and isolationist. [5][9] Due to its Edo setting and incorporation of samurai culture and honor codes, Watanabe was worried the anime would be seen as nationalistic in tone, prompting its focus on minorities and tolerance. [10] Watanabe put in as much as he could manage of these themes and subjects, challenging earlier limitations imposed by a lack of historical information from the time and Japanese television codes restricting the portrayal of Japanese minorities in the period. [5] The main cultural influence on the anime is the music and associated subculture of hip hop. [11] Watanabe had been a fan of hip hop music from his high school years, citing his first exposure as "The Message" by Grandmaster Flash and the Furious Five. Stories center around the exploits of the titular character, Agrippine, a spoiled teenage girl. "Agrippine" is the French version of the name "Agrippina". Traditional Ana Pumpkin 2021 Folimage A five-year-old girl with a ginger afro finds out about the world with her dog, Fleas Digital Alvinnn!!! and the Chipmunks[3] N/A 2015–present Technicolor Animation Productions Dave Seville, a single father who is raising six singing Chipmunks (Brittany, Jeanette, and Eleanor part time, and Simon, Alvin, and Theodore) as his adoptive kids CGI Bêtes à Craquer Animal Crackers 1997–1999 Alphanim The adventures of a group of assorted species of anthropomorphic animals in a fictional African wildlife reserve. Based on the 1967 to present comic strip of the same name by Rog Bollen and Fred Wagner. Traditional Blaise le blasé Fred's Head 2008 Spectra Animation A Canadian-French animated series made by Spectra Animation and Galaxy 7, featuring Fred (Blaise), a sixteen-year-old and his not-so-normal life. Digital Bravo Gudule Miss BG 2005–2008 Gaumont A show about a 8-year-old girl name Gudule (English: BG) who hang out with out in a tree house with two friends, Gad and Alex. CGI Bunny Maloney N/A 2009–2011 Moonscoop Bunny Maloney is a pink anthropomorphic rabbit, and he is often blundering and over-confident. CGI Cosmic Cowboys N/A 2004 Gaumont A sci-fi buddy show about two intergalactic bounty hunters: Curtis and Dook. Traditional Calimero N/A 2014 Gaumont Calimero is an animated television series about a charming, but hapless anthropomorphized chicken; the only black one in a family of yellow chickens. CGI Les Cahiers D’esther : Histoires De Mes 12 Ans The Diaries of Esther : Stories From When I Was 12 Years Old 2018 Folimage A young girl documents her journey of growing up in her diary. It is an adaptation of Riad Sattouf's comic book series, which was inspired by a real-life girl.