And it’s lots of fluffy fuwa-fuwa with girls that have highly angular eyes. The above screencap also shows the subtle control over screen space, while allowing characters to leave a strong imprint. The atmosphere is… ah, fuck it. It’s about cute girls dancing, and has a very well animated opening sequence. It only took two episodes to convince me to watch it. Watching Yaya go crazy on the drums for a mere second was lol’tastic enough for me. It’s got a bunch of seiyuu I’ve never heard of as well. It’s always good to hear new blood, but the main heroine occasionally sounds like Hanazawa Kana. This may or may not bug you. I’d understand though. We’ve heard a lot of Hanazawa for the past few seasons.
I consider the main heroine, Sekiya Naru, rather adorable. Her overall introduction is the kind that socially adaptive people might cringe at (e.g. they want her to get on with it already) however. But the show seems to want to drive past that quickly. At the moment, it’s also very close to Naru shedding that shyness a little too quick, so I think it’d do well to at least spend another episode or two to let Naru realize the sort of changes she must undergo, or at least be aware of performance art professionalism. If not professionalism, Naru just needs to learn that things on the stage, can stay on the stage. And that it’s also TANOSHII.
Madhouse wasn’t exactly my favorite studio for a while, but they bounced back into view with No Game No Life. Sunday Without God was also interesting, but I wish those beginning episodes diverged into a more serious show. Instead we got something.. else. Oh well.
Hanayamata is quite a bright show, in art and mood. Sort of a stark contrast since I was watching Tokyo Ghoul before hand.