👏👏👏👏 Congratulations! 👏👏👏👏

There is nothing invisible about this ass.

Here’s the video example. (Note: the file upload feature seems to be choking on the file, so download it here instead…)

https://limewire.com/d/rE7IG#3wmSkCbKjJ

JFC everyone in that promotional image has a case of cereal box mascot mouth 😱

Whoopslol; creative posted their Frieren-Wants-To-Get-Vored fanart to the marketing slack…

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The deeper question here is what interests you about about having a high body count in an anime?

If it’s about pure numbers, you can’t beat Apocalypse Hotel; every human dies or flees the planet by the end of the first episode. The show itself, however, doesn’t really linger on that. It’s just the setup for how a bunch of robots cope and find usefulness after all the humans are gone. It’s life-affirming.

If you’re interested in general bleakness and existential dread, where anything can happen to anyone at any time, I’d recommend Made in Abyss and Sonny Boy. These are two VERY different series. Made in Abyss falls into the newly coined “guro-moe” genre (purposely-designed chibi characters dealing with gut-wrenchingly painful situations) where the main characters are compelled to face increasingly dire and morally complex scenarios in service of a Sisyphean quest from which they may never return. Sonny Boy starts with a well-worn “floating classroom” trope, but quickly turns into a dense meditation on existential philosophy. Taken in isolation, you’ll find yourself constantly playing catch-up to understand what the hell is going on. If you decide to try this one out, I strongly recommend following up each episode by reading Steve Jones’ episode reviews on Anime News Network, which really help unpack the action and provides context clues to a lot of the philosophical musings the show gets into.

These may not be exactly what you had in mind. Two others that I read about that might be up your alley are Death Parade and Alice in Borderland, but I haven’t watched or read either of them.

Everything with a 35mm master is getting a 4k scan with a little scratch and color cleanup and getting re-released as a “4k restoration”. Making these titles available to theaters is cheap. Theaters with over a dozen auditoriums and nobody showing up to every-hour-on-the-hour screenings of this week’s new release are happy to drop something like this in for a week here and there.

Is there not a common understanding in Japan about homage and style parodies? Like, literally the setup for that song was a perfectly realized homage to the first few minutes of Back to the Future. If Robert Zemeckis saw that, he’d be all “lol cool.”

This is their respective Weird Al + Coolio moment. I’d like to believe Science Saru and Yoshiki’s relationship winds up as agreeable as theirs in the long run.

I’m past due for a re-watch.

Just leaving this here just in case anyone else thought the band setup sequence looked a little familiar…

https://www.youtube.com/watch?v=h0RqlveE__4

I was floored when finally something not-absolutely-awful happened for once.

Credit where credit is due; the plot on this show doesn’t waste time with hand-wringing. It’s moving.

The designer of this sandworm certainly knew what they were doing.

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Skinner’s in the homeless camp. Y’all called it.

https://ani.social/post/12355716/9937386

Tagging @glilimith@lemmy.blahaj.zone and Even_Adder@lemmy.dbzer0.com

Mushishi is extremely re-watchable.

Not understanding the larger context or who any of the referenced characters are is what kept me away. I gave it one episode and couldn’t understand what was happening so I bailed. It needed more narrative training wheels for folks like me.

Sad to see Apocalypse Hotel not here, but happy to see Lazarus suffering from its narrative wheel-spinning and complete lack of character definition.

Immediately using the radio to try to talk to her grandpa in the afterlife…

My heart…!

I think everybody with eyes was doing the Leonardo DiCaprio meme at that guy in the encampment.

And +1 on both solid trans representation, and having old friends acting cool and supportive when they discover it. So good!

I’m watching the subtitled version and don’t speak Japanese, but I get the sense that the rapid-fire dialogue may be serving some fun comedic timing that doesn’t translate via subtitles. The first episode had a frenetic energy that seemed to jive with that kind of tone.

But this second episode, oof. The charm wore off fast, and the entire purpose seemed to just be a dumping ground for Azu to treat everyone like a gigantic turd while the entire cast absorbed it and never reacted. That’s a lot of lost opportunities for character moments.

I will give the show at least one more episode purely to see where they’re going with this Azu plot twist.

Anime Feminist right now: 😬