Archive for June, 2012
Good, sweet Christ, that camera angle. Hisoka is such a fucking pedophile.
I’ve finally become used to Daisuke Namikawa’s performance as Hisoka. At first it didn’t seem like the right fit because Namikawa’s is so cool, deep and smooth. It’s a good villain voice, but the traits that make Hisoka a good villain are a bit different than the normal villainous traits. Doesn’t help that the man who voiced Hisoka in the ’99 series, Hiroki Takahashi, made such a distinct mark on the demented clown. (Fun fact: Takahashi also voices Harima in School Rumble, which is such a different voice that it’s almost creepy.)
It’s not a party without Strider, yo. Also, bonus points for the vampirate who shows up during the montage at the end. He might have appeared earlier in the episode, but I wasn’t paying close enough attention . . .
Speaking of being confused, all my blather about the Kanedroid last week was a result of being confused about just what the hell went on last week with all the robots and sneaking around and whatnot. This episode shows what a dope I am for speaking out of confusion and making assumptions.
If you didn’t think I would lead off with this image, then you definitely have not been reading this blog long enough.
The points where the Hunter x Hunter remake has outdone the original have been few and far between, even though the remake is a solid show in its own right. This week’s episode, however, is a clear case of the remake utterly destroying the original. It’s not even close, actually. In wrestling terms, think of it as Hulk Hogan (the remake) against the Brooklyn Brawler (the original). That’s the gulf between the two depictions of the battle between Hisoka and Gon.
This Pirate Hunter is Blue Rose from Tiger and Bunny. Prove me wrong.
So lots of stuff happening in this episode! Let’s start with Blue Rose up here since her screenshot is up there and everything. In the grand tradition of Mouretsu Pirates villains, she’s an arrogant fucking idiot. She’s basically toying with the Bettenmaru, because she has so many advantages that she could crush the ship any time she wants. What we know: 1) Her ship can zig zag like a mofo, although Marika has apparently figured out some sort of trick to avoiding bombardment. Maybe this is one of those dumb ships that can fire only from the bottom. 2) She has stealth and is skilled enough to sneak wherever she wants. She proceeds to use this power for taunting. Very imaginative. And 3) She has a stupid name (Quartz Christie).
Haha, OK, I have to hand it to the show for the silly handwaving this week regarding the Parabellum and its silly, theatrical technology. First off we find out that the image of the captain, who goes by Ironbeard, is actually a hologram. The thing that perplexes me is why the episode went out of its way to hide that at the end. Obviously if you think about it, Ironbeard isn’t actually standing on top of his ship in the middle of space and shouting. The image at the end of the previous episode is clearly different than the image we see here, however. I suppose it’s to make Ironbeard seem even more larger than life; really, though, it made me realize more how silly this show is that I actually thought for a moment it would have a pirate standing on his ship exposed to space and shouting.
There exists a clown who plays with knives and swords. So dexterous and fearless is he that he can swallow these tools of death with nary an injury. But one day the clown becomes too cocky. He tosses a claymore skyward and swallows it whole. The massive blade runs through the clown, emerging from his backside. He is stuck to the ground.
The clown’s friend, a wolf, panics. He sees the fear in the clown’s eyes. The music in the background swells beautifully, highly appropriate for the harrowing situation. No matter how hard the wolf tugs on the sword, he cannot pull it from the clown’s body. Clearly there is only one solution: tie the clown’s legs to poles hammered into the ground, tie the sword to a truck’s bumper and rip it out with sheer horsepower. Unfortunately, this brilliant plot goes awry. The clown is dragged all around the circus until finally the truck crashes. The sword is magically loosened from the clown’s body, but he is furious.
The clown must have vengeance.
He chases the wolf around the circus grounds, fretfully hacking away, hoping to lop off a limb or two. The wolf desperately leaps into the air, hoping to get away, but it is then that the clown sees his opportunity. He opens his mouth wide and positions himself under the wolf, who tries to flail out of the way but is sucked into the clown’s gaping maw. Inside the clown’s stomach is a lonely pit of despair. The clown’s mouth is the only source of light, the tiniest sliver of salvation.
The wolf tries to climb out, but this serves only to infuriate the clown. He tosses the sword into the air once again and drives it through his mouth and into his stomach, piercing it through the wolf as well. The clown is stuck in place again, but he is satisfied with his bloody revenge.