psycho-pass movie providence release date
They did have an arc where Hyakkimaru had to deal with the shock of having ears again, forcing him to slowly and painfully adjust to the act of hearing. Had the series explored that
concept with his other body parts and spaced them out better to allow for said exploration, I likely would have cared about Hyakkimaru a lot more. Sadly, at most, we get one-off lines about the
differences in what he can do with his swords, only for him to still do the same things he always did, but with one less sword limb or with longer reach. Even worse, most of his developments after that point feel less gradual or tactile, and more “start and stop”. The worst examples are when in between episodes 12 and 13, he goes from barely uttering words to forming a complete sentence, or when in episode 20, he flips out due to a demon not granting him a body part back (an occurrence that has happened a few times by this point) and becomes a raging beast who wants his body and Dororo back during the final arc of the show before arbitrarily becoming more level-headed again in the finale.
Backtracking to the non-impact issue, in the fifth episode, Hyakkimaru finds himself being taken care of by someone who he ends up having an affection towards. Meanwhile, Dororo interacts with her and the kids she’s taking care of, all while giving Hyakkimaru time to recover. At the end of episode 6, everyone who took care of them there dies, and Hyakkimaru goes on a rampage, killing almost everyone who murdered them. You’d think such an event would leave an impact on both of them, especially Hyakkimaru who
finally found someone else he cared about that could help him. Apart from minor flashbacks in the middle of Dororo getting
angry at someone, and a scene of another secondary character comforting Dororo, it means absolutely nothing and doesn’t get referenced in any meaningful way. I’m left with flashbacks to RWBY, when in Volume 3 Ruby watches Roman Torchwick get eaten after beating her up and challenging her heroic idealism with talk of how cold and nihilistic reality is.
What Kawasaki had done, one step at a time, was to piece the old SNK back together again. All that was missing was the name. Closing out 2001 and throughout 2002,
Playmore would produce software for the NeoGeo AES/MVS systems, as well as port many of SNK's popular games to the Sony PlayStation and Sega Dreamcast consoles. Aruze continued to use SNK's trademarks even after Playmore acquired the rights. Pachi-Slot machines like Crazy Racer and Ire-Gui contain SNK fighting game characters. Playmore sued and claimed more than 6 billion yen in damages. Kawasaki would eventually have his revenge on Aruze, in a manner of speaking. After SNK went bankrupt and Playmore acquired the rights to SNK's intellectual properties, Aruze went on to develop Pachinko games using SNK's trademark characters. Needless to say, the appearances of Terry Bogard, Mai Shiranui, and the Metal Slug tank in games like Bakuchi, Aruze Kingdom 7, and Ire-Gui were
completely unauthorized by Playmore. On October 28, 2002, Playmore filed a trademark and copyright action for damages in Osaka District Court alleging that Aruze was infringing upon Playmore's trademarks and copyrights concerning the use of SNK properties in Aruze's Pachinko machines. All told, Playmore claims more than 6.
[48] In a review of the first three episodes, Meru Clewis on the same website, said they approached the series enthusiastically due to fond memories of Angel Beats but was apprehensive, saying it has the potential to be "really, genuinely interesting" if Hina's character is improved, and hoped that the series gets better. [49] In another review, on the same website, Noise criticized the series for featuring a "lot of insidious
ableism" in the last few episodes, perpetrating harmful ideas about treatment and agency of disabled people, embodying clichés and stereotypes that disabled people often embody in popular fiction, and the ableism of the series' big plot twist as tying into the "disability superpowers" trope. However, he also said that there is an "incredibly
uncomfortable sexual undertone", a "coat of romantic sugariness", criticized the series for promoting a "regressive. narrative about disability," and said that the series had some high points, including a touching subplot, while citing The Duke of Death and His Maid as a better example of "coded disability" in anime.
