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"Celebrating Lesbian Sexuality: An Interview with Inoue Meimy, Editor of Japanese Lesbian Erotic Lifestyle Magazine Carmilla". Intersections: Gender, History and Culture in the Asian Context (12). Archived from the original on April 24, 2008. Retrieved January 1, 2008. ^ "ALC Publishing announces yuri manga Works by Eriko Tadeno". Active Anime. April 25, 2007. Archived from the original on October 7, 2008. Retrieved July 4, 2006. ^ Newtype USA, Vol 2 - Issue 4. April 2003.

Once in the Ever-After, Sadaijin changes its form and distracts the worm, while Suzume tries to wake up Souta, who returns to his human form. Realizing the consequences of his freedom, Daijin sacrifices himself to become a keystone, and along with Sadaijin who likewise turns back into a keystone, they are used by Souta and Suzume to lock the worm permanently in the Ever-After. While still in the Ever-After, they see a young girl from afar. Suzume realizes the young girl is herself, from 12 years ago. Suzume decides to give her young self the childhood chair that was given to her, by her mother as a birthday present. She assures her young self the chair will provide her with the strength to overcome the tragedy and continue to grow. The young Suzume becomes energized and decides to leave the Ever-After and return (in the past), leading to her being found by Tamaki twelve years prior. Suzume and Souta leave the Ever-After themselves (to the present), with Souta returning to Tokyo, while Suzume and Tamaki return to Kyushu, revisiting the friends Suzume made along the way. Sometime later, back in her hometown in Kyushu, Suzume makes her way to school. To her surprise, she runs into Souta again, at the same location where they first met. Voice cast[edit] Character Cast Japanese English[4] Suzume Iwato (岩戸 鈴芽, Iwato Suzume) Nanoka Hara[5]
Akari Miura (young)[6] Nichole Sakura
Bennet Hetrick (young) Souta Munakata (宗像 草太, Munakata Sōta) Hokuto Matsumura[7] Josh Keaton Tamaki Iwato (岩戸 環, Iwato Tamaki) Eri Fukatsu[8] Jennifer Sun Bell Minoru Okabe (岡部 稔, Okabe Minoru) Shota Sometani[8] Roger Craig Smith Rumi Ninomiya (二ノ宮 ルミ, Ninomiya Rumi) Sairi Ito[8] Amanda C.

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Archived from the original on 2015-09-24. Retrieved 2010-12-08. ↑ "HUNTER×HUNTER最新グッズ情報!!" [Hunter × Hunter Latest Goods Information!!] (in Japanese). Nippon Animation. Archived from the original on 2015-09-24. Retrieved 2010-12-08. ↑ "ハンター×ハンター デスクトップアクセサリ Vol. 1" [Hunter × Hunter Vol. 1 Desktop Accessories] (in Japanese). Amazon. com. T. from the session "Heavy Metal Queen") when they were bounty-hunters. The story was available in its own official site, however the website was closed and is currently available at the site mirror. [105] A deck-building board game, Cowboy Bebop: Space Serenade, was released in 2019. Reception[edit] Critical reception[edit] Cowboy Bebop received unanimous acclaim, beginning at the time of its initial broadcast. Beginning in 1998, Japanese critic Keith Rhee highlighted the series as a standout in an otherwise "run-of-the-mill" season, praising its overall production values, and singling out Kanno's soundtrack as "a much-welcome change from all the sugary J-pop tunes of most anime features".
[164][165][166] The "richness" of the characters and "complex and layered" narrative has received praise by critics. [167][168][169] In 1998, Max Autohead of Hyper rated it 10 out of 10, praising the "brilliant and fantastic storyline, with amazing characters who pull you not only into their world, but into their psyche as well". [170] The same year, Shidoshi of GameFan magazine gave it an A rating, calling it an "awesome" series. [171] Mike Hale of The New York Times described it in 2009 as "a superior anime, a giant-robot tale of unusual depth, feeling and detail. "[172] Following the conclusion of the series' original television broadcast, the public and critical reception to Neon Genesis Evangelion was polarized,[173] particularly with regard to the final two episodes. The experimental style of the finale confused[174] or alienated many fans[54][58] and spawned debate and controversy;[160][175] the criticism was largely directed toward the lack of storyline resolution in the final two episodes. [160] Opinion on the finale was mixed,[160] with the audience broadly divided between those who considered the episodes "deep", and those who felt their meaning was "more apparent than real". [176] The English voice actors admitted that they also had trouble understanding the series' conclusion. [174] The Mainichi Times wrote that broadcast of the penultimate episode, "nearly all viewers felt betrayed .