Tales of Symphonia Tethe'alla-hen OP ED

Wednesday, August 24, 2011

Tales of Symphonia Tethe'alla-hen OVA 1 2 3 4 Sub English Free

Tales of Symphonia Tethe'alla-hen OVA 1 Download
Tales of Symphonia Tethe'alla-hen OVA 1 Sub English Watch online

Tales of Symphonia the Animation: Tethe'alla-hen

Number of episodes: 4
Vintage: 2010-03-25

story from Bandai Namco Games' Tales of Symphonia fantasy role-playing games, but focus on two different parallel worlds.


[Formula]_Tales_of_Symphonia_OVA_-_Tethealla_Episode_1_[89135783].mkv
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Tales of Symphonia Tethe’alla 02
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Tales of Symphonia Tethe alla-hen OVA Episode 4 part 1

Tales of Symphonia Tethe alla-hen OVA Episode 4 part 2



Ninnaji is one of Kyoto's most interesting temples, featuring a large variety of different buildings and gardens on its spacious grounds. It belongs to Kyoto's UNESCO world heritage sites.

Ninnaji was founded in the year 888 as an imperial residence, but, like most historic buildings in Japan, suffered repeated destruction in wars and fires over the centuries. Today, Ninnaji is the headquarters of the Omuro school of the Buddhist Shingon sect.

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Saturday, April 16, 2011

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But Shinbo is primarily a visual stylist. His grip on the quality of his stories isn't nearly so solid. And his story is slipping. Not in any obvious way; it hasn't suddenly become insensible, introduced a stampede of romantic interests, or transmogrified into a period samurai bloodbath. Nor has some nebulous malaise set in. MoonPhase has always been a tightrope act, balancing romantic comedy and gothic thrills while staving off moe pandering with a little smart characterization and a heap of vampire action. A couple of changes have upset that balance; it hasn't exactly fallen off and broken its neck, but the act is no longer going smoothly.

The series abandons Hazuki and Kouhei's complex, thorny master/slave, sister/brother bond in favor of a simpler romantic bond, and in doing so loses several factors that lent it charm. The emotional basis of their relationship, namely their motherless, mutual sense of loss, is discarded altogether. And Hazuki's growing self-reliance, her surprising power to come through during a crisis, is given only lip-service before reducing her to the dependent role in her relationship with Kouhei. In a final blow, there's a revelation in the disc's final episode that has the already traditional dynamic of their relationship take a Neanderthal "Tarzan protect helpless female" turn that is not only insulting and deeply disappointing but also entirely illogical given Hazuki's vampiric powers. Adding tinder to the fire are the poorly developed villains of this arc, who are but pale shadows of the black evil of Kinkel, and some silly masked-man-lurking-in-the-shadows clichés.

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After following up the potent action of volume three with some quiet downtime and a whiplash shift in locale and leap in time in volume four, this fifth volume cements suspicions raised after the shift; suspicions that the series may have peaked when Count Kinkel died. A combination of questionable changes in character relations, poorly developed enemies, and silly clichés has lowered the once-powerfully entertaining series to something far more pedestrian.

Make no mistake, director Akiyuki Shinbo's visual prowess hasn't lagged or been blunted in the least (though admittedly his particular style is better suited to cluttered mansions and neon-slicked streets than to wooded mountains and spacious shrines). He fills Hazuki and company's daily life with sun-bathed peace, amusing details (let's play find-the-cat-ears!), and occasional moments—Hazuki in a pastel sea of flowers, a luminous red skeleton tree reaching for the sky—of surpassing beauty. But his real skills only become apparent during supernatural battle, when the shadows stretch ominously, trees morph into deadly fractal weapons, and his distinctive neo-noir sensibilities manifest themselves unabated. It's every bit as striking, original, and simply beautiful as it has ever been.

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After fleeing the city, Hazuki and Kouhei have settled into life at the Mido shrine. Under the tutelage of the Mido house's head, Kouhei is attempting to master the mystical arts of his family, while Hazuki apparently sits around doing nothing but cleaning the shrine. They can only meet on the night of the full moon, so that Hazuki can slake her thirst. The separation is hard on them both, and when Kouhei is hurt in a training accident, it seems that Hazuki's powers will be necessary, giving them anther excuse to meet. But a joyful reunion it is not, as Kouhei has fallen into the clutches of Arte, a vampire princess, and her t

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The anime could get graphic at times but its graphic content was spotty rather than a constant presence, and this manga isn't any different. Only a small number of scenes get truly bloody, and the closest it gets to fan service is a female bandit with a propensity for wearing revealing clothing. It's plenty enough to justify a Teen rating, though, and that may be on the low side. The rating would undoubtedly be higher had this been done in color.

TOKYPOP's production provides a cover done partly in color, with an entirely black-and-white interior. A distinctive Eastern-styled font type used in three places is hard to read against the background art, though text in word balloons is perfectly fine. An interesting compromise has been used on translating the sound effects: it's done in cases where the nature of the sound effect wouldn't be obvious from context, but otherwise the original Japanese onomatopoeias are left alone.

The first volume of the Otogi Zoshi manga works better as a stand-alone piece than it does as an intro to the anime, but it's a presentation good enough to appeal to those who know nothing about the anime and will likely still be of interest to fans of the anime. If you like period pieces, spunky female characters, and a fair amount of action then you should find this one worth your while.

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All of that's only going to be an issue for fans of the anime, however, and those unfamiliar with it won't notice the problem at all. Evaluated entirely independently, the manga tells a well-paced and cohesive story populated with logically-constructed and believable characters, most of whom are carry-overs from the anime: the elder Minamoto, Hikaru's brother Minamoto no Raikou, Raikou's loyal retainer Watanabe no Tsuna, and the masked mystic Abe no Seimei, all of which are real historical figures. The only completely new characters are the four bandits, of which their scruffy leader Takatoki is certainly the most interesting and well-rounded. Enough of his back-story is shown to justify why he would treat Hikaru kindly despite kidnapping her and knowing that she is the sister of Raikou, his sworn enemy, but how long will his compatriots put up with such behavior? We'll have to wait until the second volume to see on that.

The story and art is provided by Narumi Seto, who does not appear to have any other previous production credits in anime or manga released in the States. The artwork accurately captures the hair and clothing styles of the period, and while the builds on some adult male characters may somewhat exaggerate torso proportions compared to head sizes, it's not as extreme a distortion as seen in many other manga series. Fans of the anime will note that this Tsuna actually wears an eyepatch, but that's the only significant character design discrepancy beyond Hikaru and the designs in general are well-detailed. Backgrounds are detailed in some places and skimped on elsewhere, but with all the elaborate clothing patterns involved the artistry looks busy enough that a reader may not even notice their absence. Enough detail is present in action scenes that a reader usually (but not always) can clearly tell what's happening.

Thursday, April 7, 2011

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There's a reason it works out that way. In the creative process, all manga-ka inevitably place a little bit of themselves in the characters they create. And Ken Akamatsu, a self-professed geek, is no different—his Negi is kind of a loser, always down on himself and unsure of his own skills, not to mention awkward around girls (although that's easier to get away with when you're ten years old). And what insecure, shoegazing intellectual hasn't once dreamed of triumphing over the loud, overconfident star athelete, as typified by Jack Rakan? That's why this battle happens the way it does—Negi succeeds not because he is stronger, or more magically talented, or even more determined or hardworking. He does what he does because he is smarter. This, more than any boilerplate axiom about doing your best or wanting to be stronger, is the surprising takeaway from this battle (although it's still wrapped up in a lesson about being yourself and not trying to be anyone else). Toss around all the magical spells and attacks you like, but the nerd wins. That's Akamatsu's personality coming out in the story.