Archive for the “sora no manimani” Category

From episode 5.

Sora no Manimani is one of those anime series which exists, somewhere, in my backlog. I do not know where it is precisely, or what other anime it is surrounded by. I can only say that, when confronted by questions along the lines of "have you seen it", I have seen some of it, but not all, and what I have witnessed has passed through the veil of memories, leaving nothing. Only I remain.

And yet, its ending theme, "Hoshizuku no Surround", is a regular feature on my playlist. I seem to recall vaguely that CooRie does this sort of song style, but I am not yet desperate enough to dig through my entire song collection to see if I've heard them before.

I don't know why I love this song so much. The opening theme ("Super Noisy Nova") isn't all that interesting to me, and experience has taught me that an anime doesn't need an ending theme (or an opening theme, for that matter) I like for me to enjoy the overall package. For example, Zettai Karen Children is not all that impressive OP/ED-wise (apart from maybe the high-energy fun of the first OP), but it's still very much rewatchable.

And yet, taking my top three anime of all time, all of them have music which I believe I would regularly listen to even if I had never seen the respective anime before. This covers the opening theme, the ending theme, and the BGM; occasionally image songs count. They could be catchy (Hidamari Sketch at number three), clever (The Melancholy of Haruhi Suzumiya at number two), or just good (Cardcaptor Sakura at number one).

So, faced with something like "Hoshizuku no Surround", I am tempted to get to work on my anime backlog just so I can watch Sora no Manimani sooner rather than later (or never, in the case of stuff like Sketchbook, which I still need to get around to watching one of these days). There is a treacherous thought in my mind, surfacing from the depths of non-reason and illogic, an Iago of temptation: surely a show with so beautiful an ending theme must have such quality in its other aspects.

I dread the day when my illusions are inevitably shattered.

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Sayo Yarai in the dark.

I'm a little iffy about the leads. They're not bad, but Saku and Mihoshi just don't really interest me all that much. It feels like they're missing something, some strange chemistry that makes other couples work. Hime is also a little too tempting a target for the plot gods to mess about with in a comedic and yet schadenfreude manner; I've known her for less than an episode and already I feel sorry for her.

Still, I admit that this is entirely subjective, especially considering the existence in general of shipping wars. Even as we speak, the Saku/Mihoshi and Saku/Hime shippers have girded for battle, with the Saku/Fumie faction patiently waiting their turn, or so it may seem.

The comedy is amusing enough for my low tastes. I have a weakness for sudden chibification of the characters as they go through some absurd skit, and Mihoshi's antics lead to plenty of this. Club president Roma's emulation of Excel Saga's Hyatt (what with the blood and the coughing and the dying repeatedly) would be disturbing in a more Serious show, but provides the necessary predictable humour: whenever there is anything remotely resembling physical exertion, Roma loses about half a litre of blood and keels over. Apparently life-threatening conditions are great for defusing tension.

So far I'm watching this mainly for Sayo Yarai, who appears to be there entirely to be kind and a great listener. I don't know if I'm drawn to her because of something I like, or because there is nothing I dislike. Given that I find the other characters at least tolerable, I suspect it is the former, but I cannot quite pin down what. (Apart, of course, from the "kind and a great listener" thing.)

Oh, and if you're wondering about the symbols next to the names in the credits (both opening and closing), they're astrological signs for the Western Zodiac. From the small sampling I've checked, they're accurate as well.

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