Zio Sam

Ma anche tu Shuji, ormai dovresti sapere che i giappi sono tanto bravi a fare animazione quanto scarsi nei film e telefilm. E vai sul topic dei telefilm trash che ci ho messo una trashata nagaiana incredibbile. ( sì, con 2 "b"!!)!

Credo che 5 messaggi indichino che non sia un fake, ma quello vero che scrive in giro da una vita... Forse non mi sono spiegato bene: intendevo che costui ( che è la prima volta che ne sento parlare in vita mia) è venuto a scrivere le cose tipiche che vi aspettereste di sentire da un crociato/girellaro o quello che è. Lo fa apposta per farvi inalberare. E voi gli date corda.

Ma dai, questo Tancredi vi percula alla grande e voi abboccate pure? E propongo di aggiungere un nuovo sottotitolo al logo del P-chan: "flame garantiti"

Cioè adesso la natura sà cos'è bello o meno? Magari come questo? Non so cosa prendi, ma è sicuramente troppo.

E Ogenki Clinic dove me lo metti? Che per me è l'unico manga porno che ha un senso di esistere.

Ma questo Trevisani è stipendiato dalla Magic Press , vero ?

Ma Madoka ha vinto perchè è una bella serie, o perchè era la meno brutta tra le candidate? Akkochan non aveva fratelli e la magia la usava solo lei. Lulù l' angelo dei fiori idem. Creamy , Emi, Momo, Sandy idem. E Dolceluna. Anche Chikkle di Nagai e Bia per citare vecchiume. Devo continuare o mi fermo ?

Visto ponyo e dopo Holw , ho sempre più la tremenda conferma che Miyazaki ormai è bollito completamente. Ma che razza di film è? Il film è così così ,scorre senza climax verso un finale sempliciotto e affrettato . C'è sta madre di Ponyo ( bellissima e terrificante) che vuole far diventare la figlia umana, c'è Fujimoto ( l'unico personaggio decente del film, che ha una voce italiana per me sbagliatissima ) che è messo lì un pò per bellezza e non ha un gran ruolo nella trama, poi c'è la Luna con le marre che deve portare " la fine del Mondo" ma che sembra messa lì tanto per metterla e uno quasi non se ne accorge. Un Miyazaki sempre più spinto verso a esternare il suo estro visionario nei film che realizza a scapito della trama sempre più striminzita e manieristica .

Una bella traslitterazione di un intervista a Gen Urobuchi lo scrittore della serie. Non chiedetemi cosa 'è scritto perchè non ho voglia di leggere stò wall of text Chi vuole approfondire può andare qui http://forum.evageeks.org/post/469107/Puella-Magi-Madoka-Magika/?sid=99f56c1324d52b4ae0f24b2c29489e78 I have just finished translating all of the above, plus the text I gleaned from the internet. Unfortunately the text I found in the internet focused more on Urobuchi than Madoka and only the first part is exclusivley Madoka related. The other parts of the talk were omitted. Anyway it should serve to let everyone understand Urobuchi better. Anyway, here you go: Uno (U) – I have the pleasure of watching and enjoying Puella Magi Madoka Magika (Madoka). My views have changed somewhat from the first half to the second half. To be honest, up till the middle it seemed to me it is more like a work that clevely re-deployed various elements that we had already seen before. In fact, I could see Madoka have got many genes from works over the last 10 or 20 years. This was also reflected in the “established personalities” like Director Akiyuki Shinbo and Ume Aoki-san. And up till the mid-part although I found it a joy to watch I did not sense a desire to pour my words out about this anime. However, as it approached the finale, I started to reconsider and thought I had been premature in my thinking. In particular, the last 3 episodes were just sensational. My apology for stealing the word for my own use, but this was the surprise about the way of approach to reach something that is a “miracle”. In media with high degree of imagination like anime and game, consumers usually want to get hold of some “miracle”, a fantasy that could only exist in anime or game. Madoka was no exception to this. [symbv: here it links to the text I found from internet] 宇野：「まどか」を見て、久しぶりに「奇跡」のイメージを更新してくれる表現に出会ったように思いました。その新しいイメージというのは、片方にとっては一ヶ月しか時間を共有していない同性の相手との関係性という、普通に考えればあまりにも根拠が弱く脆弱なものをベースに「奇跡」が起こるということに尽きるんじゃないかと思います。まどかとほむらの間には狭義のセックスは成立しないし子どもも生まれない。それを特別なもの、入れ替え不可能なものとする根拠は何もない。 　しかし、そこには「奇跡」が成立している訳ですね。少なくとも観ている人はそう感じてしまう。そこに明らかに物語の力、作り話ゆえの詐術が働いている。そして僕らがアニメのような虚構性の高い表現に求めているのはこういう物語の力、つまりは本来あり得ないものを可能にしてしまう力を見せてくれることじゃないかと思うんですね。それこそがまさに「奇跡」なわけです。 When I watched Madoka, it came upon me that I had met a presentation that updated the image of “mircale”. And I think this new image is about going deep with the “miracle” that occurred from a base of the relationship of two people of the same gender in which one side had only barely one month of sharing time with the other side, something that by conventional thinking would put as lacking ground and thus fragile. Between Homura and Madoka sex as narrowly defined could not happen and no child could be born between them. There is no ground whatsoever that would be said to be special and inrreplacable. However, from there a “miracle” was established. At least those who watched the show feel that. And here clearly some tricks from the power of story-telling and the fictional account were at work. And what we seek from media with high degree of imagination like anime is this kind of power of story-telling, that is, showing to us the power that can make possible something originally impossible, I think. This is precisely what is a “miracle”. 虚淵：奇跡という単語を引き継いで話せば、僕にとって奇跡というのはあくまでも単なる偶然に見出す行為に 他ならないんです。当事者にしてみれば、祈りの結晶だったり信仰の拠り所になっているようなものであっても、より大きな視点に立ってみれば、起こってもお かしくない出来事がたまたまその瞬間に起きたということに過ぎないんですね。確率的に言えば、宇宙を何百回か繰り返せば物質をすり抜けるようなことが起 こってもおかしくないわけでしょう。だから、あくまで奇跡の価値というのは人間がある偶然的な出来事に意味を付け加えるという行為そのものにあるのだと思います。 　最終回でのまどかとほむらの絆というのも、実は奇跡が起こった後で成立しているものなんですよね。まどかがキュゥべえに願いを伝える段階では、彼女にとってのほむらは何を言っているのかよくわからない電波女なわけですよ(笑)未来から来て何度も時間を繰り返したらしいけど、こっちは一回分しか知らないぞっていう。だから、まどかの祈りの動機はむしろ全ての魔法少女を救いたいというところに根ざしていて、必ずしもほむら個人に向けられたものではないんですね。ほむらが何回もループを繰り返して因果を束ねたおかげでまどかが因果律を捻じ曲げるほどの力を持っているわけですから、ほむらの気持ちは常にまどかの方を向いているけれど、まどかがほむらの真の想いを理解するのは全能の力を手にした後なわけです。 Urobuchi (UB) – If I can keep the use of the word “miracle”, to me a miracle is at the end nothing but some behavior that got noticed by chance. For those who were involved, it could be the fruit of praying or something that became the foundatoin of a faith, but if we look at it from a broader perspective, it may be just some occurence that is not that unexpected which somehow happened at that moment. This is like, fom a probability point of view, if the universe were to start over several hundred times it is not unexpected that some material may slip through. So at the end the worth of miracle is what additional meaning human put upon some accidental happening. In the last episode, even the bonding between Homura and Madoka was established only after the miracle happened. At the stage when Madoka spoke out her wish to Kyubei, for her Homura is a denpa (wacko) whose words she could not understand. (lol) Although [Homura] came back from future and rolled back time many times, for her she only knew her only the first time. Therefore the motivation for Madoka's wish was actually rooted in desire to save all the mahou shoujo. It was not necessarily for Humura herself. It was to Homura's credit that because she went through time loops many times and bound up the causalities so that Madoka possessed the power strong enough to bend and twist the law of causality. So Homura's feeling was always facing towards Madoka, but Madoka came to understand the real feeling of Homura only after she got hold of the almighty power. 宇野：やっぱり、その点において彼女たちはすれ違ってしまっているわけですよね。 虚淵：そうですね。そしてすれ違いを解消するためにはまどかが人間から離れて神になるしかないという、ある意味ひどい話ですよね。 U – So on that part the girls were passing each other by. UB – Yes. And in order to resolve this passing-by Madoka could only depart from humans and become a godess. In a sense it is a cruel story. 無性的な空間 宇野：「まどか」にしても同性間の関係というテーマはやはり重要だと思います。タイトルに「魔法少女」と入っていることもあって、多くの人は「まどか」 に対してセクシュアルなイメージを持って見ていたという気がします。しかし、実際にはほとんど男性は登場しないし、ラストは少女たちの友情に着地するし、 一方で過剰にセクシュアルな表現を試みていながらもう一方では切断するようなこともやってみせる。そんな作品だったと思います。その意味では『鬼哭街』、 『Fate/Zero』、「まどか」といった作品を見ていくと、虚淵さんの作品にはセクシュアルなものがかなりの程度消失した、無性的な空間で何が起こるのかというモチーフが強く働いていると思いました。 U – I think in “Madoka” the theme of same-gender relationship is quite important. There is “mahou shoujo” in the title, and it seems that many watched Madoka with certain sexual image in mind. However in reality there were little appearance of male and the last part is anchored with the friendship between young girls. On one hand it was trying sexual presentation in overabundance, while on the other it tried to cut off that link. To me this is such a work. When I look at works like “The Cyber Slayer”, “Fate/Zero” and “Madoka” in this way, it seems to me that in your works a strong motive, where the sexual matter disappeared to a large extent and something happened in a sexless space, is at work. 虚淵：確かにそれはありますね。僕の場合、男と女の間に成立するような関係は、同姓同士でも成り立つものだろうと考えている部分があるのかもしれません。絶対に男女間でなければ成立しないようなモデルというのは、自分の中にあまり想定されていないように思います。セックスという要素は加わるものの、男女間の関係が人間関係の中でそれほど特殊なものとは思えないんですよ。だからその気になれば、よりBLに近い形で、男同士のメロドラマもかけるかもしれないですね。 UB – That much is certainly true. For me, perhaps there is part in my thought that said whatever relationship that could exist between male and female it should also exist between couples of same sex. Inside me I could not imagine a model in which there is something that absolutely could only exist between male and female. Notwithstanding the extra element of sex, I do not believe male-famle relationship is such a special thing among all the different inter-human relationships. Therefore if I really feel like doing, I may even try a melodrama between male couples, something that is close to BL. 虚淵玄のターニングポイント 宇野：虚淵さんの作品の中で、セクシュアリティの問題を別にしても、やはり『Fate/Zero』はターニングポイントになっていると感じます。それ以前の作品というのは『沙耶の唄』がまさに当てはまると思うんですが、個人の感情と社会的な倫理がある時に前者が優先されることでカタルシスを得るという構図が見られたのではないかと。一方『Fate/Zero』以降というのは、むしろ倫理や社会的な責任という概念を物語の中にどんどん取り込むことで緊張感を増し、物語の強度を引き上げる方向にシフトしたように思うんです。『Fate/Zero』における衛宮切嗣の描写はまさにその典型ですよね。 U – Among your works, even if we put side the issue of sexuality, it seems “Fate/Zero” is a turning point. Of the works before it, “Saya no Uta” is a good representative, where we can see a composition in which catharsis is obtained by means by giving priority to personal emotion over social mores when both are present. On the other hand, after “Fate/Zero”, the style is shifted to a direction in which the strength of the story was pulled up and tension was raised by continuously taking in concepts of morals and social responsiblities. The depicton of Kiritsugu Emiya in “Fate/Zero” is typical of this. [mysbv: Kiritsugu Emya is the protagonist and master of Saber in “Fate/Zero”] 虚淵：『Fate/Zero』のあとがきにも書いたんですが、僕は心温まる物語が書きたいと思っているにもかかわらず、どこかでまっとうな幸福というものを信じられないからどうしても作品がバッドエンドに向かってしまい、それに悩んで筆を折ろうかと考えていた時期があるんです。 そもそも、世界より個人をとる、自分の欲望を肯定するというのは僕の中で絶対にバッドエンドなんですよ。世界が滅んでしまうんだったら救済も何もないです よね。昔の自分はそれを認識しつつ、マクロに見ればバッドエンドだけど個人の目線ではハッピーエンドというところに物語を着地させることを逃げ道としてい たように思います。 　でも『Fate/Zero』というのは個人を不幸にして世界を救う話だったので、おっしゃるようにこれをターニングポイントとしてハッピーエンドを書けるようになったのかもしれないですね。これ以降は『アイゼンフリュ－ゲル』にしろ「まどか」にしろ、主人公はどこか破滅に向かってしまうけど世界にとってはいい結末というものを迎えていますしね。 UB – I wrote it in the afterword of “Fate/Zero” too. It was the time when I got so troubled by the fact that as much as I wanted to write a heartwarming story, somewhere in me just could not believe in legitimate happiness but I had to move the work to a happy end, and I almost wanted to hang up my pen. From very beginning, to opt for the individual instead of the world, to affirm his own desire and ambition is to me an absoulte bad-end. If the world should be destroyed then there was no salvation whatsoever left. I think in the past I just picked the escape route by landing the story in way that is a bad-end in a macro perspective but a happy-end from the individual's point of view. However, “Fate/Zero” is a story that had the individuals fallen into misfortune but got the world saved. Perhaps this became the turning point like you said and finally I could write my happy-end. After that, be it “Eisen Fluegel” or “Madoka”, I approached to write works in which the protagonist may face ruin and destruction but to the world it holds a good ending. 物語の力を信じている 虚淵：僕はデータベースという発想が苦手な部分もあるんですよ。たとえば『スーパーロボット大戦』シリーズにハマれないんですよね。やっぱり自分の中で最優先されるものは世界観であって、その中を自在に動き回るユニットだけを単体で愛することは出来ない。キャラをピックアップして自在に混ぜなおすというところまで来ると、世界観は成立しないと思ってしまいますよね。 UB – I do not really like this idea of database. For example, I could never enjoy “Super Robot Wars” series. At the end for myself the top priority is the world view. I cannot love only the units that move around at will inside it as each individual item. I believe if I go to the extent where I just pick and choose the characters and mix them around as I please, I cannot establish a valid world view. 宇野：『Fate/Zero』のよう な、オリジナルとしての『Fate/stay night』の歴史に介入することはありでも、ゲーム的な想像力が強い「スパロボ」までは行きたくないということですよね。たとえば「MUGEN」とか 「SRC」のような全てのキャラクターがカオスに交じり合うようなものとは一線を引いておきたいのかなと思うんですが。 U – Even though you could insert into the history of “Fate/stay night” with an original story like “Fate/Zero”, you do not want to go to the extent of “SupaRobo” with its strong game-like imagination. I think you want to draw a line between works like “Mugen” or “SRC” where all the characters are chaotically mixed up together. 虚淵：あれはやっぱり「おじさんついていけない」って思っちゃいますよね(笑)古典化した作品を再利用するという温故知新の意味では非常に有意義なコンテンツであるというのも分かるんですが、ノリきれないですね。 UB – I just think that this is really what they say “you must not follow an old chap (ojisan)” (lol) Although I also understand that, in the sense of “learning from history” where classic works are reused, it can become very meaningful contents. I cannot bring myself to do that. 宇野：インターネット以降の感覚をある程度は受け入れようとしながらも、そこで抵抗して物語の側に踏みとどまりたい気持ちが虚淵さんの中にあるんですね。それはそれで一つの対峙の仕方だと感じます。時代の前提を受け入れながらも、自分のプロ意識を保ちつつベストではなくベターな解答を探していく。少し衛宮切嗣みたいですね(笑) UB – So within you there is a feeling that you want to take in the sense of the post-internet age to a certain extent, you also want to resist that and hold out by the story's side. This is certainly one way of confrontation. While taking in the premises of the current period, yet keeping your own professional sense and looking for a better solution, instead of the best one, you are a little bit like Kiritsugu Emya (lol) 虚淵：自分はストーリーテラーなので、キャラクターの可愛さや彼らが作る空間にも魅力を感じつつ、やはりそこから立ち上がってくる物語の力を信じたいですね。 UB – Because I am a story teller, while I can feel the charm of how adorable the characters are as well as the environment they created, it is the power of story-telling that was created from them that I wanted to believe in. 死人としての経験 虚淵：僕の場合、創っているものに影響あるレベルで自分の人生における黒歴史を考えると、24歳くらいの時に病気で死にかかったことを 思い出しますね。感染症にかかって熱が出て、ちょっと処置が遅れたら死んでいたというくらいに危なかったんです。今でも忘れられないのが、その後の療養期 間における感覚ですね。大げさでも何でもなく、ああ、自分は今ある意味社会的に抹殺されているんだなあと感じました。自分が死人同然だという感覚が離れな かったんですね。その時間に味わったものは今でも結構作品に活きているように思います。 UB – For me if I consider the “hidden history” in my life which had the impact of causing influence in my creation I remember when I was 24 I got sick and almost died. I contracted some epidemic and had fever. It got so dangerous that if the treatment had been delayed I could have died. What I could not forget is the feeling I had when I was in recuperation. Although I did not suffer grave wounds or anything like that, well, I felt that I was in a way erased from the society then. I could not get away from the feeling that I was just like a dead man. What I felt during that time is very much alive even now in my works. 宇野：やたらと作品内で主人公が死にかけるのはそのあたりのご事情が関係しているんでしょうか。あとどの作品でも身体にじわじわとダメージが蓄積される感覚をすごく大事になさってますよね。 U -- So the fact that so often the protagonists got near death in your works is linked to that incident. And in every work you took care to build up a feeling that the body is slowly accumulating damages. 虚淵：死人として数ヶ月過ごしたことで、死者の目線みたいなものを獲得できたのかなという気はします。自分の死について徹底的に想像力を巡らせることができたというのは紛れもなく貴重な体験になっていますね。 UB – By spending several months living like a dead man, I feel that I obtained something like the “eyesight of the dead”. It was unmistakably a precious experience when I could let my imagination to wander free regarding my death. 虚淵玄の考える自らの今後 虚淵：せっかく「まどか」で成功したので、もうちょっとこの業界での仕事を続けてみたいという気持ちはありますね。ただ、今回の「まどか」 を大きな節目とまでは思っていないんですよ。節目ということでいえばやはり『Fate/Zero』の方が大きかった。あれは久しぶりに物を作ることが楽し いと思えた作品ですし、がっつり売れたということも自分の中で大きな意味を持ちましたね。自分が生涯で売り上げるつもりだった目標数値を 『Fate/Zero』だけで上回っちゃったんです。その時に、「ああ、俺はもうこれ以上成功しなくてもいいや」って思っちゃったんですよね。同時に、あとの人生はボーナスステージみたいなものなんだから好き勝手にやろうという思いも出てきました。それで色々と変なことをやっていこうと考えていたらまた「まどか」で当たったので、案外生き存えていれば再び当たることもあるんだなと思いましたね。 　ある意味で野心を失っている部分はあるんですけど、とはいえ評価されたり名前が売れることは自分を育ててくれた人たちに対する恩返しにもなるのでそこは頑張ろうと思っています。視聴者の皆さんに対しても自分が色々教わってきた以上は、日本のアニメをもっといいものにしていく責任は負っているんだろうし、それを果たしていきたいですね。 UB – I have the feeling that I want to continue working in this industry for a bit longer, given that Madoka succeeded after that much effort. But then I do not think Madoka this time is such a critical juncture. If I have to pick a critical point then it will have to be “Fate/Zero”. That one is a work that I first felt happy creating something after a long time, and the good sales held a special meaning to me. With only “Fate/Zero”, it broke my target sales figures for all the works in my whole life. At that time, I even thought “Ah, it is fine if I do not have any success bigger than this.” And so I thought about trying various odd things but then Madoka also became a hit. It seems as long as you live and endure, unexpectedly you may hit on something. Part of me may in a way have lost the ambition, but I will do my best in future because to have good review and be able to sell with my name is a way to repay the kindness of those who have helped me grow. And with all the viewers having taught me so many things, I also bear the responsibility of taking anime in Japan to something even better. I want to follow up on that.

Mi pare ovvio che li chiamano majuu/maschi visto che la loro forma è inequivocabilmente maschile. Resta da vedere se li hanno chiamati così per qualche profonda ragione piscologica che da alla trama un sottotesto metaforico che si incastra nella trama principale dando una prospettiva diversa da quello che fino ad ora aveva immaginato lo spettatore o se è il primo nome banale del cactus che gli autori c'hanno messo. L 'unica cosa che mi pare evidente è che finora, tutte le tue millemila dotte argomentazioni su Madoka le avrai copiate da qualche forum/blog/sito giapponese che " tanto qui al P-chan il giapponese lo sanno in 3 e quindi figurati se mi scoprono" .

Ma stà opzione di pagare col cambio di PP o della tua banca si può fare solo al momento dell' acquisto e non si può modificare nelle opzioni del tuo conto? E se io pago con PP diettamente su E-bay o su un altro sito questa opzione mi appare o devo per forza attivare l'pzione del cambio dalla pagina del mio conto su PP?

Per chi non l'avesse capito, lo ZZio è la versione potenziata di Zio Sam , che a sua volta è una versione evoluta dell' originale RX 78 Sam (risate) Ora, a costo di venir linciato da tutti girellari-nostalgici che si annidano sul P-chan, vogliamo dire come era pezzente il pur mitico Megaloman? http://www.youtube.com/watch?v=Lb7YZR45sJ4 Ora, a parte che i combattimenti si svolgevano in scialbe ricostruzioni di ambienti cittadini e o di campagna ( quelli della Tsubaraya erano fatti molto meglio), c'erano anche i combattimenti tra la squadra di Takeshi e la tribù del Sangue Nero che si svolgevano sempre in una fabbirca abbandonata o in un parchetto dalle parti di Bergamo. La più patetica era la ragazza, che non sapeva manco tirare per sbaglio un calcio ben piazzato: infatti, oltre a inquadrarla pochissimo nei combattimenti ( ed era un peccato, dato che aveva un lato B niente male), nelle poche scene che la riguardavano , i "nemici" cercavano di aiutarla a menarli in maniera quasi imbarazzante. In un episodio, due di loro lasollevano in modo patetico per farle fare una giravolta in aria in modo da evitare un loro attacco e sdraganarli di mazzate.

Miii , Shuji, mi hai fatto scendere una lacrima leggendo questa tua frase che racchiude una sacrosanta verità della vita.

Shujji, guarda che l'avevo già postato io una pagina fa .....

Cleopatra non so, ma Giovanna la si vede al rogo quando nel finale Madoka esaudisce il desidero di blablabla ecc.... Quindi, se muore lì. vuol dire che moriva anche prima del reset. Perchè non usasse i poteri per fuggire da morte certa è un mistero. Come Akemi che non usa il potere di fermare il tempo per uccidere comodamente Cuba. Ma è come chiedersi perchè Daitarn non usasse subito il sun attack contro i megaborg invece di aspettare all' ultimo.

Ma se c' hanno anche la coda, che stai addi'? Allora facciamo tre quarti di kemono, crepi l'avarizia. E cmq, ricordate che

Ma Sadamoto le rekkie le aveva già tirate fuori in Summer Wars, non capisco questo vostro stupore. Al massimo devo stupirmi io che due rekkie sulla capoccia per voi è un furry. Al massimo un quarto di kemono .

Si, ma nel restart finale di Madoka. Nelle altre realtà dove è morta e basta ( compresa quella dove si svolge la serie) , perchè Giovanna e Cleopatra sono morte( come immagino nei libri, visto che Kyubei rivela a Madoka che le due erano appunto delle maohshojo ?)

Certo... .... se uno vuole inventare l'intenzione dell'autore, come lui fa. Comunque mi riferivo concretamente al fatto che Cleopatra (o chi essa è) nell'anime viene vista salvata da Madoka: possiamo suppore che a) non muoia allora (ma a ripensarci non so se sia sensato vista la scena) b) muoia, e la nostra storia non sia quella del post reset (che però non penserei) c) quella non sia Cleopatra. d) ce ne siamo fottuti della storia. IRL Cleopatra morì a 39 anni, dovremo mettere quello come limite per essere rori? E Giovanna d'Arco dove la metti che si vede morire al rogo? E perchè Cleopatra e Giovanna non si sono trasformate in streghe molto prima che le salvasse Madoka? Specie la seconda. Che poi il reset del nostro mondo c'è già stato tutte le volte che Madoka moriva e Akemi tornava indietro per cambiare le cose. Solo alla fine Madoka fa un reset davvero epocale. Ma d'altronde, stiamo facendo un discussione pseudo filosofica/intellettual/mistica/sociale/femminista su un cartone dove ci sono delle rori con abitini ridicoli ( su tutte la vichinga con l'orsacchiotto che si vede nell' ultima puntata) che discutono con un simil pokemon di quanto le ragazze crescendo diventino delle stronze. d cosa che infatti è esplicitata nell' ultimo episodio , dove l'onda d'urto del desiderio di Madoka investe solo le ragaze magiche di tutto il Mondo ed epoche ( pure Giovanna d' Arco, che però non ha indosso nessun costume ridicolo nè usa i suoi poteri per salvarsi, vai a capire perchè).

Visto che io Madoka l'ho visto una sola volta, al contrario di altri che lo sanno a memoria o quasi, qualcuno potrebbe spiegarmi perchè Cleopatra e Giovanna, invece di diventare streghe e distruggere tuto sono morte come delle povere pirle, come riportato dalle cronache ?

Miii, beato te Alex che è il fine di Shito che a sua volta è il tuo strumento. Non sai come ti invidio.

Prima di tutto non si dice "maniaco" ma "diversalmente fan accanito . Secondo, conosco Stefanus ( gli ho ho regalato pure delle fan art di Zooquadrion) e sapevo che aveva aperto di nuovo il suo sito ( dove c'è anche l'ultimo episodio di ZQ) però i link del fumetto non vanno! Solo quelli di ZQ, gli altri invece funzionano o quasi ! http://www.zooqquadrion.com/homeitaliano.htm P.S. Mi hai incuriosito, dovè che sul p-chan avete visto queste autentiche perle girellare ?

Poteva mancare il gioco di Gunbuster su PC engine? A vederlo così sembra una palla micidiale

Che l'avvampante immagie di Trider G7 riporti la pace in questo topic Ooooooommmmm , oooooooommmm .....

E vogliamo parlare di quando Sunrise fece morire Shatkin in Raideen e allo studio venne recapitato un pacchetto contenente delle lamette di rasoio? Perchè qualcuno non gradiva ce avessero osato "uccidere" il loro personaggio di fantasia preferito. Che è anche peggio che prendersela con una idol o doppiatrice perchè si sposa.