Archive for the 'k-p' Category

Kannagi: The Crazy Does Not Stop

I still remain firmly convinced that Kannagi is a solid testament to the assertion that the difference between being trite and not being trite is in how it’s executed rather than how it’s conceived. But I’m pretty sure that everyone realizes this already and that, rather, I would like to spend some time explicating some rather amusing observations.

  • Akiba-kun. The very second he opened his mouth to rant about the quality of direction in Lolikko Cutie (the highly parodical snippet we were alloted in the ending credits to episode 7 amused me vastly, by the way. “Actually, I have three lives!”), I thought immediately of myself, as that’s exactly how I would react upon someone mentioning something I liked in a negative context (although, in the case of Lolikko Cutie, I don’t think I’d go to quite the extent Akiba-kun does, but the spirit’s there, and that’s what counts). Pretty much any time he steps on screen I know I’m in for hilarity, although I’m starting to wonder if anything will be better than the presentation of the Beta video tape, follwed by “It’s a Sony!” I have a nasty feeling that there will be better.
  • And, speaking of Akiba-kun going into far too much detail on the direction, Yamamoto Yutaka really knows how to manipulate humor. Speaking as someone who has spent entirely too much time thinking seriously about being funny, and also having been a bit of a humorist myself, he understands some of the strongest weapons in the repitoire of the comedian: one, create funny characters and set them loose on each other with free reign and hilarity is born; and two, sometimes the best joke is the one that isn’t actually made.Witness episode 7: as more characters pile into Jin’s room in an attempt to coax Nagi out of the closet, things start to spiral out of control and it becomes less about getting Nagi out of the closet and more about watching the characters interact. You aren’t even told what, exactly, Jin has done to incur Nagi’s irrational wrath until the episode is nearly over, and by then it’s mostly trivial, because you’re laughing too hard at everything else that’s happened. Better, perhaps, is the scene where the cheerfully sadistic Zange is doing something to Jin, although network constraints (Kannagi does air relatively early: 10:30PM on Saturday evenings) and just plain good comedic sense from Yamamoto led to us not being terribly sure what, exactly, Zange was doing to Jin. It’s the classic setup: sometimes, the funniest thing is to leave it up to the imagination of the viewer to invent their own (in this case, perverted) scene. Handled with the right balance of vagueness and specific details, this can provide endless amusement and running gags in both the series and in the following. Personally, I found it funnier to imagine some kind of horribly complex, planned-out act to make it seem like “embarassing things” were happening, either impromptu or without letting Tsugumi in on the deal (perhaps to make her own shock, embarassment, and discomfort contribute to the overall effect. Such an eventuality works for me because I, as the viewer, know that Zange would totally do horribly embarassing things to Jin for the sole sadistic purpose of pissing off her sister, and so, therefore, by acting like she is doing them, but not actually doing them, the insinuation combined with the subversion of her own character archetype makes it delightfully amusing.Why did Kyoani say Yamamoto wasn’t ready to be a director a year ago, anyway? Was he actually good, and there’s just some kind of politics behind this, or did he just train on a mountaintop with a wizened old man in the martial arts of directorship in the intervening year? Is there a similar wizened old man on a mountaintop for the martial arts of librarianship?
  • Speaking of Zange-chan, I am still working up some kind of overly complicated and tongue-in-cheek theory about how Kannagi is actually about the intervention of Western values (personified by Zange, who wears a crucifix) versus traditional Japanese values (personified by Nagi, who is a mobile sacred Shinto tree). I mean, really, look at how brutal Zange is to subvert Nagi. She ties her up in the shed! She kicks her in the face! She does anything (mostly decitful things, though) to gain the willing support of the Japanese public, forcing Nagi to fight her on her own turf! If that’s not some kind of intercultural dialogue manifested in two decidedly insane yet strangely attractive sisters, I don’t know what is.

The main thing that’s surprised me is that, even with Kannagi going down directions I didn’t quite think it’d go back at episode two, it’s still retained is particular brand of comedic styling that causes it to rise above the status of “just another otaku-service series.” We may have had underwear shopping episodes, but I’ll be damned if they weren’t hilarious underwear-shopping episodes.


Kannagi: They’re Definitely Crazy, But They’re Definitely Amazing

It may just be me, but I’m inordinately pleased with Kannagi. I’ve no idea what the Takenashi Eri manga is like, having not read it, but it looks like I may just have to (in that nebulous point in the future known as “someday”) since the anime version is amazingly well-done. I talked a little bit about it in my previous post, but, for simplicity’s sake, the part I found most appealing about the first episode was the quaint charm of both the humor and the overall mood, a feeling continued into the second episode. It’s funny, yes, but neither is it forcing too much humor down the viewer’s throat, even when it’s being excessively silly. Apparently the pairing of Yamamoto Yutaka and reknowned (to me, anyway) Kamichu! co-creator Kurata Hideyuki is a highly effective one. Who knew?

Perhaps most interesting about episode two is that it throws a few curveballs that I didn’t expect–number one being that the kittens from early in the episode died by the end. I was all expecting a sorrowful, tearful apology from Jin and a heartwarming scene of feeding milk to cats (piano optional). Nope. Cats’re dead. Naturally, this is the instigator for Nagi marching off and trying to handle things on her own and steadfastly refusing to go back and rely upon Jin, which, indeed, she does not go back–it’s Jin who goes off after her. That may actually be expected, but at this point I no longer care, as it was well-executed, and–holy crap–started tugging at heartstrings! How dare my silly “wish-fulfillment magical girlfriend” series do that to me!

It’s a bit difficult at this point to qualify my particular developing fondness for Kannagi, partially because it’s only been two episodes, and partially because I’ve been up for 18 straight hours on five hours sleep. Is it a ground-breaking earth-shattering heavens-piercing epic masterpiece of an anime? Well, no, and it’s not likely to be–but why should it be all those italicized words? Isn’t something which sets a modest goal and acheives it as good as the ambitious series which also succeeds in its goals? Is something, merely by being unambitious, therefore reduced to the degrading moniker of “mediocrity” despite how well-crafted it may be? Are people even aware what the word “mediocre” means these days? Am I even aware of what the word “mediocre” means these days? Am I just some crazy loon trying desperately hard to justify my burgeoning fondness for Nagi (whomay or may not have a split personality and may or may not be telling the truth at any give point in time) by making overly short posts due to lack of sleep that possibly don’t say much of anything? Are any of these rhetorical questions even necessary? How many roads must a man walk down before one can call him a man?

I don’t know! Suffice it to say, Kannagi gets my vote for (currently) severely underrated series of the season. And I’ve always had a habit of unconsciously gravitating towards the less-well-known yet incredibly well-done anime (or, well, anything, really), so, likely, this is yet another example of such. I think, after Ookiku Furibakutte, Tetsuwan Birdy Decode, and now Kannagi, I’m starting to develop a peculiar fondness for A-1 Pictures. That could just be me, though.

A Quick Conglomerate Update

Since I haven’t had a chance to do so all week due to either being horribly busy or horribly sick*. Or, on Friday, both. So here’s a (highly hasty) rundown of what I might have said, if I had had the energy or time to do so. Which I didn’t.


Despite any naysaying, I maintain that the Toradora! adaptation is quite good–yes, they may have crammed the first novel into two episodes, but quite a lot of the first novel was either descriptions of actions taken by characters, or descriptions of emotions and such, so, even if they were to stretch things out a bit, it’d still have only filled another half and episode or so. More importantly to me, however, changes made have only accentuated the Toradora! experience, as my much beloved lamppost scene (complete with affront to community values) was handled quite effectively. The series definitely has a certain kind of energy and vigor to it, different from the sort of feel I got from the novel (that may have been the effect of the background music I was listening to as I read the novel, though) but not necessarily one that is bad. In fact, the vigor of the earlier moments where Taiga and Ryuuji are being played for laughs only accentuated the melancholy, emotional mood of lamppost angst and later moments of the episode. The balance, at least so far, has been struck extremely well, and flows effectively from mood to mood without feeling jarring. I’ve faith in Okada Mari and Nagai Tatsuya, and they’re living up to it so far.


I had the chance while sick and miserable and alternately freezing and burning up on Tuesday to catch the first episode of Kannagi, a series which I didn’t expect much going into but found myself highly amused and entertained by a surprisingly solid comedy. It’s directed by the infamously fired Lucky Star 1-4 director, Yamamoto Yutaka, whom I never really had a problem with, and it’s obvious that he’s got his sense of comic timing down right. The whole first episode had a quaintly amusing charm to it that I found much more to my (admittedly hyper-refined) comedic palate than Kemeko DX, which was extremely Mizushima Tsutomu from start to finish (and I’ve still no idea how this Mizushima Tsutomu is the same Mizushima Tsutomu who directed Ookiku Furikabutte and XXXHolic). Nagi is horribly cute (and much more effective for me than that other Nagi from a comedy series, may Kugyu have mercy upon me…) and played perfectly by Tomatsu Haruka. There’s also great comedic chemistry between Nagi and Jin (and Jin’s voice actor, Shimono Hiro, who has a great voice for these kinds of comedy roles), and the whole thing is rather well-done. Color me impressed (which can be both an easy and a hard thing to do, apparently)

HIgurashi no Naku Koro ni Kai

It’s only been, what, a year since the series finished airing? Kai somehow got lost in the shuffle (this happens fairly frequently, unfortunately, even to things I quite like) and, since I’m getting geared up to watch Umineko na Naku Koro ni whenever that airs (I was under the impression it was starting soon, hence my sudden, hasty decision to plow through Kai. It, of course, isn’t starting soon at all) and I’d forgotten how much I enjoyed Higurashi. Granted, there’s a lot more of the “silliness” in Kai than there was in the first season (possibly due to the longer run time Studio DEEN was able to give the arcs), but the silly parts are still amusing, and the deadly serious mystery/horror parts are still pretty darn chilling. I liked Higurashi more for the psychological horror aspect (the Distinction scene from the first season is one of the most terrifying things I’ve seen, and I had to purposely not pay much attention to the episode during some of it, even though it’s not really all that gruesome), but the balance struck between “taking it home” and the nervous breakdowns of various characters makes for a fun combination. I’ve made it through the second arc, “みんな殺し変”, and now I want to do very bad and very violent things to Takano, and, I’m sure, so does most of the cast. I’ve no clue where Hanyuu came from, but I approve of Horie Yui no matter what, and Hanyuu is pretty cute anyway, and the episode previews are a delight. Does it have problems? Yeah, but so did Higurashi, and I don’t particularly care, so there.

And that is pretty much that. I hope I have time this week to do something not-important-to-living.

* Some kind of nasty 24-hour stomach bug thing, followed in close succession by a horrible cold brought on, no doubt, by the hilariously malfunctioning thermostat in this house. It’s like the time I spent in the horrible dorms on campus, where I couldn’t figure out if the giant air unit in the side was actually supposed to give out heat, or if Housing & Maintainance expected me to slowly freeze to death. No wonder 2002/03 sucked.

The Daughter of Twenty Faces: DEATH. RAY. LASER. BEAMS.

Okay, so, as I watched episodes 17 and 18 of The Daughter of Twenty Faces while making a futile attempt to reverse the laws of thermodynamics and reduce entropy by cleaning my desk off (discovering what I can only describe as “dust Godzillas” in the process), I discovered, to my extreme pleasure, that they have, finally, unveiled a giant monster death laser that reminds me of Okamoto Tarou’s Taiyou no Tou (or, possibly, it is that the Taiyou no Tou reminds me of a giant monster death laser, which probably wasn’t Tarou’s intent, but that never stopped me) (ps: fans of Shinbo will take much pleasure in noticing that Shinbo loves Okamoto Tarou to death, as he references him all the time, which amuses me, considering the name of this blog). The series, which is still pretty good (even if it is a very up-and-down kind of good), was just aching to have some kind of giant death laser by which to blow things up spectacularly.

Honestly, I don’t care how totally unrealistic and/or plot device-y giant monster death lasers such as this one and countless others scattered across science fiction in general are, I think they are totally awesome. Anime seems to do such things with a special sense of verve. There’s the epic battle between Gettysburg Fortress and Iserlohn Fortress in Legend of Galactic Heroes, which is best described to those who haven’t seen Legend of Galactic Heroes as a massive pitched battle between two Death Stars, one of which is about 100 zillion times more powerful than the other. I am not kidding.

There’s also things like the Tower of Babel in Nadia: The Secret of Blue Water, which amuses me greatly, in part because it’s a giant monster death laser in the middle of 19th Century Europe (a really weird 19th Century Europe, but 19th Century nonetheless), but mostly because it was the friggin’ Tower of Babel. Tower. Of. Babel. I’m not sure where in the Bible it mentions that the Tower of Babel was actually a highly technological GMDL, but there you have it. And I also especially liked Eureka Seven’s Oratorio system, which was a GMDL in space and blasted holes right through the Scab Coral itself.

And, on a much smaller scale, I’ve always been fond of Gunbuster, partially because one of its weapons is the Homing Laser, which takes the concept of GMDLs onto an entirely different plane. I also like it because they turned Jupiter into a giant bomb, but that’s still not quite as cool as Homing Laser.

What does all this have to do with Daughter of Twenty Faces? Absolutely nothing. As stated above, the series continues to be highly enjoyable, even if nearly every episode is enjoyable in strange ways unique to that episode. I’d almost say that they (being the manga author) aren’t really sure what they’re doing with the series and are just throwing things into it and hoping that it works, and while some miss horribly (I still find the powered armor suit kind of jarring and out-of-setting), others work well and make the series a highly enjoyable, if nigh-on nonsensical, watch. Of course, the series is supposed to be nigh-on nonsensical, so I’m not too terribly bothered when super-fast super-strong children show up and beat the tobacco juice out of Ken (is he actually going to do anything important, or is he just going to stand around saying “look at me, I’m wearing an eyepatch and a black leather jacket. Am I not the definition of cool?”, which, honestly, is perfectly fine with me, because God knows we need more eyepatch fanservice), and then two of them have a fight with each other, which was also awesome, and I think I can just type “awesome” here for a few more paragraphs and it would probably be a perfectly accurate summary of 17-18.

Also I’m pretty sure Twenty Faces is dead now. For reals. Like, crushed by rocks. Then again, if falling into the ocean from cruising altitude doesn’t kill him…

The Daughter of Twenty Faces: Brooms + Chiko = Death

Not just any broom. A miko’s broom. Take that, unnamed antagonists!

Fresh off episode 15 of this extremely hard-to-define (for me, anyway) series, I am struck by the notion that this is an episode format that series like Daughter of Twenty Faces need to have a bit more of. Not that what we’ve had is bad, of course, but this episode–which, from the start, looks rather much like a silly lighthearted “here’s a tension breaker in the middle of all that drama that just unfolded” episode, of which the best part was most likely to be the discussion of Charlie’s Angels The Detective Girls (which was suitably amusing and also in line with the glamour-and-fantasy-obsessed Keito’s character), but, instead, we got an amusing lighthearted episode (with suggestive yuri scenes of tickling), with deadly broom-wielding action, and then a tad bit of character development of the rather useless Detective Akine. He’s fat, he’s useless, and for most of the series he’s been the hapless pawn of Chiko’s aunt in her various machinations to try and con her way into the fortune Chiko is heir to. For the past several episodes, though, they’ve been giving him a bit of character past, and by the end of the episode, he’s managed to show some spine and stands up to Chiko’s aunt in defense of Chiko, and actually shows himself worthy of the “Detective” in front of his name.

I was amused and highly entertained the whole episode (who wouldn’t be, at this point?), but by the end, simple and silly as the sequence of events was, the entire episode essentially turns the whole character of Akine upside down. That’s essential in a story like this, because it keeps the viewers on their toes, and keeps the lines of intrigue and shifting alliances alive. One might call it a sudden, and rather arbitrary, shift of character; to me, however, that seems to be keeping in line with the old-time crime/mystery stories Daughter of Twenty Faces traces its literary history back to. It may not be as “well-executed” as some of the crazy twists Back In The Day (the early 20th Century), but it’s also not a prime twist (or even a twist at all, just a deepening of character), and it seems fairly logical as far as I can tell.

Or maybe I’m just too easily entertained/impressed. But Twenty Faces has always seemed to be to be more of a fun-to-watch series over trying to be more intellectual fare (like a certain other series involving a famous literary thief and numbers–which reminds me, I need to watch The Castle of Cagliostro sometime), and it’s moments like this that remind me why I like the series in the first place. It’s not the most impressive work BONES has ever done (and, really, they’re going to have to really work it to the bone to top Eureka Seven for me, although Xam’d might make it there, maybe), but it’s far from their worst effort, and it certainly has a certain charm. Maybe it’s the fact that the director, Tomizawa Nobuo, spent quite a bit of time working on various projects involving Lupin III, and picked up a few things about how to tell and direct stories about thieves and old-school capers and such.

I have no idea where the series will possibly go (and I kind of wonder if the original manga author knew himself anyway, but that’s part of the appeal), or if it will succeed when it gets there, but it’s still a crazy ride.

With tickling. Seriously. We need more of that. With Tome joining in. Nothing says female bonding like tickling.

Macross Frontier: Why Do We Sing?

I know why Nakajima Megumi is singing: Satelight is cutting her a check for every song, plus it’s not every big break that involves singing Kanno Yoko songs. Why Ranka is singing, however, proves to be a much more problematic, uh, problem.

I must admit, when I saw 19 (yesterday ;__;) I screamed blasphemous words towards Sheryl at the end. I’m not sure if I just missed the explanation for what happened (her fainting and Alto catching her) or if they didn’t show it to us in order to make the viewer howl in anger (or cheer in ecstasy, you disgusting horrible wonderful Sheryl fans), but that still didn’t make me any less upset at the effect it had on poor Ranka. Since the series is winding to a conclusion, drama has been kicked into high gear (and people shoot bullets to keep the old-school fans pacified) and now we have the fun times of screaming in rage and hatred at Leon instead of Sheryl/Ranka, for once.

20 was essentially 24 minutes of animated bliss: that single episode contained everything about Macross Frontier that, love it or hate it, makes it Macross Frontier. We have lots of blood and gore and killing. We have Klan Klan stripping in front of the camera (and it still wasn’t shoved in your face nearly as bad as they could have done it, and it played into the end of the episode–more later, though, on a very sad and touching KLAN KLAN WATCH!). We have conspiracies run amok and a nagging feeling that maybe Leon isn’t as in control as he thinks he is. And we also have Sheryl regaining her drive to sing, a performance that, although most likely the exact same recording found on the Diamond Crevasse single with some manipulation to the mix, still sent chills up my spine and made a certain moment which we will discuss later in KLAN KLAN WATCH! much stronger. Mock-Sheryl hate aside, she pulled out all the stops and we see her character rise from an abyssal depression of uselessness into a realization that one is only as useless as one thinks they are. We also see her slap some sense into Ranka–really, the whole rooftop sequence was amazing on all three fronts. It may be a love triangle, but like all Macross triangles, the three have to work as a cohesive unit to get anywhere.

Also, I was quite pleased to note–also on the rooftop scene–that they snuck in a sly reference to SDF/DYRL, where Ranka states that she can’t sing, exactly like Minmei did before her performance of Do You Remember Love? at the end of DYRL. Ranka, of course, can’t sing because she feels she’s lost her reason to, since Alto doesn’t care about her. It’s also amusing–as Ranka loses her way in stardom and is forced to re-evaluate why she sings, Sheryl, who’s been on the decline for quite some time now, finally realizes that she shouldn’t sing for herself, but for others, because it’s all she can do.

21 was slightly less spectacular, and I don’t quite have a lot to say about it, but they’re definitely heading towards an end with this series. When Ranka and Brera blast off into space, I’m left wondering if they’re playing into Leon’s plans (if Leon is truly who is in control here, or if Grace is using him as a pawn like Lelouch) or if they’re acting in counter to them. The path of the series now seems to be coexistence with the Vajra (who probably aren’t a terribly hostile race unless provoked, as wild animals tend to be) with Ai-chan maturing into a full Vajra. Personally, I’m waiting for the Alien moment where a Vajra pops out of Ranka’s stomach (or the Spaceballs moment where a Vajra erupts from her stomach, and then tap dances off the set a la Michigan J. Frog). Also, I love how there’s two triangles going here: Alto/Sheryl/Ranka, and Ranka/Alto/Brera. Only Sheryl is missing one, unless you want to count Sheryl/Alto/Nanase. This is, indeed, the Macross that’s all about love triangles.

And, now, the moment you’ve all been waiting for:


I don’t know if there’s words for this scene. I knew going into 20 that Michael would die, possibly horribly, but very definitely die, and even still, this final sequence affected me to the point of tears welling up (again!). It was probably a combination of Klan confessing her feelings for him earlier (while mostly naked and in miclone form), the aforementioned bone-chilling performance of Diamond Crevasse, and MIchael stating, just before It Happens, that if you truly cared about someone, you’d give up your life for them. Also probably the fact that Klan Klan and Michael were both pretty tsundere to each other all series, to have both the confessions and the death of Michael within a few minutes of each other is just…yeah. I don’t know if I can actually describe my emotion from the moment the Vajra busted out above the miclone tank to when Michale was sucked into space. Emotions defy words, I think, this one especially. If Michael had to go out, he did so in the best possible way.

But, dear reader, you can make Klan Klan not be sad once more! Simply join the under-appreciated MAL club I have formed in dedication to our favorite genetically defective Zentradi female. It’s under-appreciated like every other MAL club I have formed, possibly because I have unpopular and somewhat obscure tastes! This isn’t shameless self-whoring at all!

I’ve also just realized that we’re about to start a new season, and I, once again, am bidding farewell to series I’ve stuck with for half a year. God knows what I’ll do when Soul Eater ends–I think, if I stick with it, it will be the first 50+ episode series I’ve managed to follow from airing start to airing end. I almost did that with SEED Destiny, but by the time it ended I had given it up already and didn’t care too much. I keep meaning to post my crazy plan-to-watch list for the fall, but I haven’t had a chance to yet.

Macross Frontier: So Where Are My Chiba Song Units?

Like, seriously, Kawamori. You’re spending all this time talking about the ability of Ranka’s song to transcend spacetime and traverse through foldspace and resonate with the Vajira and you haven’t even talked about Chiba Song Units at all. At least you have Ozma and his love for Fire Bomber.

I’m actually going to try to keep this shorter than usual, since I’m trying to get to bed at a decent hour and have a decent amount of sleep tonight, but here goes:

The opening for episode 17 was amazing. The opening for episode 18 was even more amazing and I think it simply reinforces what I think is going to wind up happening in the end of Macross Frontier: Ranka and Sheryl, rather than being rivals and one always overshadowing the other (or one being discarded when the other is more valuable), will simply have to work together (much more so than Misa and Minmei had to work together in SDF, and more so than Basara and Gamlin had to in 7). The glue that binds the two together is, of course, Alto, who genuinely cares for both of them. I don’t think that the “triangler” of the series is actually a love triangle–at least, in Alto’s eyes. Alto cares for both Ranka and Sheryl almost equally, and he’s demonstrated this time and again. I’m not even sure if he’s going to actually resolve the arbitrary love triangle of the series in any way at all, really. This triangle seems to be less about a dividing wedge between people so much as a a cooperative effort: the “Triangler”, therefore, isn’t about “who gets whom”, but how the three can work together to form a geometric shape that obeys the Pythagorean Theorem and will give headaches to geometry students the world over.

Or maybe I’m making all that up. At any rate, I thought 17 was amazing in and of itself, simply because they drug out Fire Bomber songs and used them as background music–My Soul For You and Try Again (twice! The second time they added in a more modern twist with a heavier guitar riff that I’m not sure I wholly like yet, but I’d have to hear the remixed version in full to decide that, but it certainly was impressive). It was like a Fire Bomber tribute episode, so, naturally, I was happy. Although I’m still wondering if Ozma is going to bite it–I expected him to die in 17, but, alas, he did not, although he seems to have been made even more useless than he already was.

And, seriously, what’s up with this? Does Ranka realize that she’s riding around in a ship that has a giant image of her, clad in a bikini, albeit a bikini that doesn’t seem to have a bottom to match the top? I mean, it’s like–she’s in the ship. Surely she’s seen it. Isn’t she embarrassed to be the bottomless Call Up Monster Girl? Does she secretly enjoy it?

Or is Kawamori just baiting all the otaku with official Ranka psuedo-erotica? Whatever it is, it’s pretty Macross to do this, considering that Mylene had the stalker photographers who sold lewd photos of her, and I’m pretty sure Minmei wound up in a similar situation, and at any rate I’m pretty sure half the appeal of Sharon Apple was that she was smokin’ hot.


Michael and Klan Klan need to go on dates more often. She totally wants him bad. Also, she acted like classic girl–sit around at the cafe for an hour or so before your date is scheduled to arrive and preen and primp your hair and then when your date arrives slightly late and apologizes simply act like you hadn’t been waiting desperately for him to show up and just say “Oh, I just got here two minutes ago, it’s okay” and then seethe inwardly with anger at him until his true objective is revealed in which case you get the above.

Labcoats are within the scope of my interests. We need more labcoats. And I think Klan Klan needs to borrow Alto’s trenchcoat for an episode or so.

Or, hell, just give her her own spin-off series. The Klan Klan and Michael Happy Fun Time Awkward Relationship Hour or something. I would watch it, buy the DVDs, and any related merch.

I am aware that Klan Klan has done nothing terribly useful except be (amazingly and mind-destroyingly) cute for the entire series, but that’s okay–she’s a side character, she can exist for that purpose, just like Straight Cougar existed for the sole reason of being amazingly and mind-destroyingly awesome. Just please don’t die like he did, okay?


I cannot understand those that take anime seriously, but I can love them, and I do. Out of my love I warn them to keep clear of this blog.

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August 2019
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