Part two of our watchalong of the 1984 classic, Glass Mask! Vrai, Megan, and Marion talk about stage moms, scene stealing (in-universe and out), and why this ’80s shoujo seems unusually subdued about its roses and sparkles.
Summer might be a small season, but that only makes its standouts shine all the brighter. Some for their ingenuity, some for… other reasons.
For every manga and anime from the 1980s and 1990s that promoted conformity to society and obeying the rules, there were many others that instead featured delinquents as protagonists and found popularity among readers who inherited an economy pulverized by their parents.
Just because several spring shows were delayed to summer and fall doesn’t mean there wasn’t some absolutely dynamite anime this season!
Even now, with the vast increase of explicit queer womxn’s representation on television over the past decade, I still see myself in Sailor Moon and The iDOLM@STER more than I see myself in Orphan Black.
Vrai is joined by classic shoujo fans Megan and Marion to watch the 1984 classic, Glass Mask! Acting has never been so much like a shounen training arc.
From delayed titles to unexpected twists, this is shaping up to be one unusual season.
Gibiate is not, how you might say, good. I can’t wait to watch more of it.
Mr Love looks, at this stage, to be a fairly standard sci-fi otome series with all the pacing and compression issues you might expect from a shift in mediums from game to anime. If nothing else, it certainly looks gorgeous, so if you want a night in with some schlocky sci-fi full of Handsome Boys you might be in luck.
A brtual, viseral series that brutally looks at trauma and disaster in a time when the real world is coping with ongoing trauma. from a pandemic and disaster.
The power dynamic between the two leads is so far oddly and satisfyingly balanced (aside from the “girl kicks boy” slapstick), and there is a potentially really interesting undercurrent of character development and social themes amidst the corny comedy.
I feel like the writers have placed Sakurai as the “blank slate” sort of character that the audience is meant to project themselves onto, and they succeeded… with the perhaps unintended consequence that, in empathizing with Sakurai, I could not stand Uzaki.
Deca-Dence is proof-positive that sufficiently powerful execution trumps novelty.
This premiere may not be of any use as entertainment, but as a narcotic? It’s the best thing on the market.
