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It has the look and feel of a (good) movie, with a sweeping cinematic mode of directing that befits the stories’ expansive fantasy world, and stunningly realised landscapes that bring the show to life.
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The entire series has maintained an unprecedented quality of art and animation. The element of Seirei no Moribito that most screams for attention is its stunning production, and here is where my faith in Kamiyama is affirmed. Yet, when looked at as a whole, the show has failings that can not be ignored most notably, flaws in the pacing and the build-up of the story. On some levels, the show is a resounding achievement, and there are moments dispersed throughout when it reaches remarkable heights of excitement, emotion and splendour. However, the show that I got was both different to what I had hoped, and also not as memorable or entertaining. By the time the trailer came along I was well and truly brimming with excitement.
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So, when I heard that Kenji Kamiyama, who is largely responsible for some of the finer creative inputs for both seasons of Gits SAC, was going to be heading this show with Production I.G, it instantly became my single most anticipated series of the year. I can never resist the urge to assume a show will be spectacular based on the staff or studio involved, even if my hopes have all-too-often been crushed (as was the case with Darker than Black). Overall 9 Story 8 Animation 10 Sound 10 Character 8 Enjoyment 9 Seirei no Moribito was one of those rare anime that I commenced with an unshakeable sense of anticipation and with high expectations.
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There are several other characters who appear throughout the series (Tanda, Touya, Saya, Jiguro, etc), all of whom receive a certain amount of development because of their association with Balsa. What makes this series really work though, is the attention to character development that both Balsa and Chagum receive, and how, as each of them develops, their relationship with each other changes. Chagum, on the other hand, is exactly how you would expect a young prince to be, but without the arrogance (which makes a nice change). As I've said earlier, Balsa is no beauty, and this again sets her apart from many other female leads, as the designers generally try to make lead women in anime 'attractive' to male audiences. She is muscular and stocky, possess many skills (not the least of which is her formidable fighting ability), has a strong sense of right and wrong, is very rarely indecisive, and is sensible in many ways. 'The Way of Memories (The Power of Bonds)') by Hirata for episodes 14-17, 19-21, 23.Ĭharacters It goes without saying that the star of the show is Balsa, the spear wielding warrior woman, and Balsa, as a character, is one of the strongest and most unique female leads in any anime. The main ending themes for the series are 'Beauty of Destiny' by Hirata featuring Lotus Juice for episodes 1-12, and 'The Way of Memories (Kizuna no Chikara)' ( The Way of Memories -キズナノチカラ-, lit.
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Additional opening themes include 'Pursuing My True Self' by Hirata for the TV broadcast of the first episode, 'True Story' by (as ) for episode 9, and 'Burn My Dread' by Kawamura for episode 15.
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The main opening themes for the series are 'sky's the limit' by Shihoko Hirata for episodes 1-8, 10-12, and 'key plus words' sung by Hirata featuring Yumi Kawamura for episodes 13-14, 16-22. A film recap of the series, titled Persona 4: The Animation -The Factor of Hope-, was released in Japanese theaters on June 9, 2012, featuring a condensed version of the story and new scenes of animation. Licensed the series in North America, simulcasting it on as it aired and releasing the series on DVD and Blu-ray in two collective volumes on Septemand Janurespectively.