8 : The Story Of Saru REPACK

The back and forth is handled well, nicely cutting between simultaneous heated discussions on the planet's surface and on the Discovery, and even the dialogue isn't terrible, it's the story behind it all that lets the side down. Finally, Saru confronts Ryn and demands to know why he's so important, but the Andorian refuses to spill the beans.

8 : The Story of Saru

The seasonal story arc inches forward a little bit this week and each episode seems to still contain more filler material, so we do sincerely hope there isn't a sudden story tsunami towards the season finale. As we've mentioned, this episode is not terrible, it just feel awkward in its placement within this season.

I. WHEN ABSENCE MATTERS If it's in the title, it must be in the story, too. But if you run through the 700 pages of Hinako Sugiura's comic, Sarusuberi you won't find trace of the titular flower. Not even a petal. At the same time, it is there. All the time. In (almost) each story. You simply need to know what to look for. Because this is a work of fiction conceived by an Edo period's mind, therefore the answers are not exposed, but demand to be discovered. And are meant to be personal, and not universal.

II. ONE HUNDRED DAYS OF CRIMSON Sarusuberi is the Japanese name of a woody perennial tree known as Lagerstroemia indica, crape (or crepe) myrtle in English, lilas d'été or myrte de crêpe in French, espumilla or árbol de Júpiter in Spanish, bae-gil-hong in Korean and zī wēi in Mandarin. Originating from southern China, it is very common in Korea and Japan. As the trunk grows and the cork layer starts peeling off, it exposes an extremely smooth new bark, hence its Japanese name, literally "monkey slide," because the trunk is so slippery that a monkey (saru) could use it as a slide (suberi). However, the word "sarusuberi" is written with three Chinese characters that have no phonetical relation with the Japanese reading, nor with monkeys or slides, but instead they provide an additional meaning, or "one hundred day-lasting crimson." This refers to the tree's extended blooming period, because during three months, from July through September, the crape myrtle flowers bloom and fall, and bloom again, offering the unique view of a tree permanently in full bloom, despite the ground is covered in its fallen pink petals.

In the frontispiece of the very first story of her comic book, Sugiura quotes a haiku by poetess Kaga no Chiyo (1703-1775): "As they bloom, so they scatter; as they scatter, so they bloom. Sarusuberi flowers." In the book's foreword, Sugiura explains how she could not find a more appropriate metaphor to describe Hokusai, who tirelessly produced so many works of art, yet his creativity seemed to never wither. She called the sarusuberi blooming season "a long festival," an expression that Hara transformed into a dialogue line given by O-Ei at the very beginning of the film.

III. THE CIRCLE IS NOT ROUND Many of Kaga no Chiyo's haiku are dedicated to flowers, and flowers were something Sugiura particularly loved. Aware of this interest, Keiichi Hara decided to express the flow of time in his movie (which is a story told through the four seasons) by featuring flowers that are specific to each season. This artistic decision is one of Hara's many understated contributions to the source material. Miss Hokusai opens in the summer of 1814, with O-Ei remarking that the crape myrtle tree in her mother's garden is blooming, therefore it can be assumed that the time should be around July. When O-Ei takes O-Nao to Ryogoku Bridge, we can see red spider lilies (higanbana in Japanese) in the background. These flowers bloom around the second half of September, as suggested by their Japanese name, literally meaning "autumn equinox flowers". Higan also refers to the other side of the Sanzu river, or the river flowing between this and the other world.

Poor Hyakkimaru keeps getting reintroduced to his senses in the worst way possible. When he gets his nerves back, he feels pain. When he gets his hearing back, he hears sobbing. Now the first thing he smells is sulfur! Fortunately, this is evened out with a flower from Big Sis, who has miraculously survived. It's incredible that while the anime is far grittier than the manga ever was, the show is only at its darkest when it faithfully recreates the death toll of the manga. Perhaps it's because this episode is original that Saru and his sister both survive. Expect a lot more anime-original material now that we know Dororo is going to be 24 episodes long. This adaptation may be the most thorough exploration of the story yet.

Science Saru was founded on February 4, 2013 by Masaaki Yuasa and Eunyoung Choi.[1] Yuasa and Choi had previously worked together on numerous projects,[18] and Choi had prior experience leading Ankama Japan, a studio which utilized similar digital animation production techniques and employed a multinational staff.[19][20][21] The creation of the studio was proposed by Choi during the making of the short film Kick-Heart (2013),[16] which was the first large-scale Japanese animated project to be successfully crowdfunded on Kickstarter.[22] The studio's first official production under the Science Saru name was an episode of the American Adventure Time animated series entitled Food Chain (2014), on which Yuasa worked as director, writer, and storyboard artist; Choi served as co-director.[1] By July 2014, the studio was also recognized for creating the digital animation for Yuasa's animated series Ping Pong the Animation (2014).[23]

By early 2016, Science Saru had gained experience and built a name in the industry; while still a small team, the company was ready to undertake its first large-scale project. The studio's first feature film production, the family-friendly fantasy film Lu Over the Wall (2017), was produced in less than 16 months using 'digitally assisted' animation techniques.[15] Yuasa directed and co-wrote Lu Over the Wall; it was his first feature film with an original story.[46] During the production of Lu Over the Wall, Yuasa and Science Saru were offered the opportunity to produce a second feature film, the comedy romance Night Is Short, Walk On Girl (2017), based on the novel by Tomihiko Morimi.[47] Prior to the establishment of Science Saru, Yuasa had directed a television series adaptation of Morimi's novel The Tatami Galaxy (2010);[48] Yuasa had originally hoped to adapt Night is Short, Walk On Girl immediately after that production, but was unable to at the time. When he was offered the opportunity in 2016, he immediately agreed. This resulted in the pre-production work on Night is Short, Walk On Girl overlapping with the post-production of Lu Over the Wall.[49] Although Lu Over the Wall was completed first, it was released after Night is Short, Walk On Girl; this was in part due to a marketing suggestion that it might be preferable for the studio's first film to be based on a pre-existing property familiar to Japanese audiences.[50]

2018 was the year that saw Science Saru, and in particular Masaaki Yuasa, achieve international recognition and prominence.[56] Lu Over the Wall and Night is Short, Walk On Girl, as well as Yuasa's pre-Science Saru feature film Mind Game (2004), were licensed for North American distribution by GKIDS.[57] Most significant to Science Saru's growing popularity was the Netflix release of Yuasa's animated series Devilman Crybaby (2018), based on the manga by Go Nagai.[58] The series represented a dramatic scaling up of Science Saru's production capacity; prior to this project, the company had operated with a limited staff of 20-25 people, but work on the series necessitated expansion, including the hiring of episode directors and new creative talents.[59] Devilman Crybaby was an immediate and massive international hit;[60][61] with 90% of its viewers outside Japan, the series achieved the largest global audience for the studio to that date.[62] The series inspired internet memes,[11][63] was profiled by YouTuber PewDiePie,[64] and was widely discussed on Twitter.[65] The series was nominated in 7 categories at the Crunchyroll Anime Awards and won for Anime of the Year and director of the Year,[66] was awarded a Jury Selection Prize at the Japan Media Arts Festival,[67] was cited by Vulture as containing one of the 100 most influential sequences in global animation history,[68] and was listed as one of the best Japanese animated series of the decade.[36][37][38][69][70]

In 2019, Science Saru produced Yuasa's next feature film, the romance Ride Your Wave (2019). An original story,[71] the film earned Science Saru the studio's best reviews to date.[72] Ride Your Wave was an official competition selection at Annecy,[73] was nominated for the Mainichi Film Award for Best Animation Film, was nominated for Annie Awards in the categories of Best Indie Feature and Outstanding Feature Film Direction,[74] received a Jury Selection Prize at the Japan Media Arts Festival,[75] and won Best Animated Feature Film awards at the Shanghai International Film Festival,[76] Fantasia International Film Festival,[77] and Sitges Film Festival.[78] Also in 2019, Science Saru produced the series Super Shiro (2019), an installment of the popular Crayon Shin-chan franchise created by Yoshito Usui. The series was directed by Yuasa and veteran animator Tomohisa Shimoyama (making his directorial debut). Yuasa's involvement was the culmination of a long association with Crayon Shin-chan, having first animated for the franchise in the 1990s.[79][80] The end of the year saw the 2010s heralded as Masaaki Yuasa's "breakout decade";[81][82] collectively, Devilman crybaby and the release of Yuasa's films in the United States led to him being highlighted as one of the most important and exciting directors in animation.[11][62][83] 041b061a72