#fairy tail 448 | Explore Tumblr posts and blogs

askkrenko · 4 years ago

Text

Krenko’s Guide to Pokemon: Ekans Line

(You know what’s weird? I couldn’t find a good picture of Ekans AND Arbok.)

DESIGN: You know, for a pokemon that’s just a purple snake, I really like these boys. Ekans has his little rattle, but the lack of fangs makes him look soft and cute, but not TOO cute because snake eye, so he just seems like a reasonable but young choice for battle. And then Arbok’s got that full hood thing going on that’s exaggerated enough to just look menacing. And the purple color, often associated with poison, really sells that these snakes are double extra venomous.

EVOLUTIONS: Ekans just has a level-up evolution at 22 to Arbok, your same low-level mid-tier pokemon as Fearow and Raticate. And honestly, like many other things, it could safely get another level, or a mega, to push it into something truly powerful. Capping out so early means there’s not much for an end-game Arbok. As with many pokemon, I’ll only really be talking about the final form mechanically because the lower forms are just weaker versions of it. TYPING: Arbok is a Poison type, which comes with resistance to fighting, poison, bug, grass, and now fairy, with weakness only to ground and psychic. Now, sure, ground attacks happen all the time, but five resistances and two weaknesses is great. That said, its STAB moves are only strong against Grass and Fairy, four types (Poison, Ground, Rock, and Ghost) resist, and Steel’s immune, so Arbok’s not getting too much mileage out of its poison-type attacks. STATS: Arbok’s stats are middling-low all around. With its highest stat being an attack of 95, a stat total of 448, a middling speed of 80, and below-average defenses, Arbok finds itself in a lower weight class.

ABILITIES: Arbok’s hidden ability, Unnerve, prevents the opponent from eating berries. This is so corner-case and there are so many good non-berry held items that it doesn’t matter. Its secondary ability, Shed Skin, which gives a 1/3 chance of healing Burn, Freeze, Paralysis, Poison, or Sleep every turn. This is an entirely reasonable ability that I would never complain about, though healing Poison is a bit less useful on a Poison type, which is immune to the Poison status effect from any source other than Salazzle.

But none of that really matters because Arbok has Intimidate, which lowers the opponent’s attack stat by 1/3 as soon as the Arbok shows up. This ability is so good they had to alter a handful of other abilities to grant immunity to it. It supplements Arbok’s defense enough to let it usually survive a physical hit (especially when it resists five types), and it can make Arbok a reasonable switch-in to catch attacks. While Arbok’s stats are only so-so, cutting an opponent’s stat down can be a great equalizer. MOVES: The first check for most pokemon is their STAB Attack. As a physical poison type, Arbok has two that matter: Poison Jab at 80 power, 100 accuracy, and 30% chance of poisoning, and Gunk Shot, at 120 power, 80 accuracy, and the same 30% chance of poisoning. It might seem as though both are reasonable- a 20% miss chance can be deadly- but Arbok’s real special move makes Gunk Shot the clear winner.

Arbok is one of a select few pokemon that can learn Coil, a non-damaging move that increases Attack, Defense, and Accuracy by one stage. This increases its ability to take physical attacks, increases Gunk Shot’s accuracy to over 100, and of course increases the damage of physical attacks. With Intimidate and good resistances, if Arbok gets off the opportunity to Coil a few times it can become a serious threat. Leftovers/Black Sludge can help with longevity here.

After that, Arbok doesn’t have any real utility moves, but it gets some good raw damage options and type coverage. While Steel, Rock, and other Poison types will resist Gunk Shot, Arbok can learn the Super-Effective Earthquake, which has been one of the best moves in Pokemon since Red and Blue. For move four, it’s just either Aqua Tail for ground types or Sucker Punch for Ghost types and you’re good to go.

Another entirely reasonable option for Arbok’s fourth move, rather than even more type coverage, is to just take Glare. Originally Arbok’s signature move, guaranteed Paralysis is just a decent option for messing with opponents. OVERALL: Arbok is held back a bit by its low base stats, but Intimidate makes anything a lot better, and Coil’s one of the better buffs in the game. The one big issue Arbok has is that it’s not really fast enough to reliably sweep: even if it Coils to full it’s still got poor HP and special defense. A single strong Special attack can take it out with no difficulty no matter what it tries.

#Krenko's Pokemon Guide #Ekans #Arbok

9 notes · View notes

loveandlucky · 6 years ago

Text

My heart feels heavy this morning with thoughts of 2015 fairy tail.

I wanna tell you guys about a very important memory. It was the day chapter 448 came out. Fight The Power. It came out in mid-late august. A few days before school started I think, because I was going to marching band in the morning for one of the last practices or something. Cant remember exactly. The brain remembers emotions better than other stuff of course.

It was a cool morning but humid. My mom dropped me and my sister off, and I was pulling up the chapter on my phone, 15 years old with no worries and so much excitement.

I ran to my friends sitting outside, some knew ft pretty well, and the ones who didnt knew I was in love with it. I excitedly read the chapter surrounded by their conversation and laughter. God I miss them. I remember the exact feeling I had when I saw that last panel of lucy staring at Mavis all wide eyed. I remember lucy's foreboding monologue as she laughed with her guild mates. I remember me and one friend who actually read ft with me at the time jumping up and down and just yelling ab what the hell was happening. It's all so vivid.

That moment? That's my happy place.

#fairy tail

10 notes · View notes

fairytailextrachannel1 · 7 years ago

Photo

Here is Fairy Tail chapter 448 (Lucy Heartfilia) Image set 1 of 1

(These posts will contain spoilers, to not see them use Tumblr savior and put in FTALIS in the Black list section)

#lucy heartfilia #chapter 448 #FTALIS

4 notes · View notes

richtits0fshipping · 7 years ago

Text

Subverting Natsu’s Thematic Characterization in Alvarez

Throughout the duration of the Fairy Tail Manga, Natsu’s served as the personification of the FT Guild and the themes it encompasses. To this end, Natsu’s always had an aversion to self-sacrifice, stopping Erza, Gray, Makarov, etc. from attempting to do so. In chapter 100, Erza explains the underlying ideology behind Natsu’s action against sacrificial attempts, “One doesn’t have to die for their nakama’s sake. They have to live for their sake. That’s the only way to bring about a happy future.” As a character who’s actions serve as the mouthpiece of the manga’s themes, it’s only natural that these themes would take precedence over the lesser aspects of his character (stubbornness, mischievousness, etc.). Rather, it’s imperative that these lesser facets serve as a means of supplementing and complimenting the overall character that results from this amalgam of the mc shounen archetpe and the overarching themes the mangaka instills in them. In chapter 465, we see an example of these lesser characteristics taking precedence over the thematic aspect of Natsu’s character.

As Natsu is about to land the final blow to Zeref, Zeref voices Natsu’s fate if he does choose to strike him. Despite this, Natsu ignores the implications of his actions as the resolute, obstinate, and hot-headed qualities of his personality take control. Note that there is no mention of Natsu defeating Zeref for the guild’s sake nor the typical thematic lecture, only that he’s, “not handing over the first.” What follows is Happy, taking the position of Natsu, stopping him from killing himself. The issue with this swap in roles is that it can only be concluded that Natsu doesn’t apply this problem of self sacrifice to himself. Thus, our protagonist exhibits hypocrisy; a dire issue for a character meant to embody the manga's values. The question is thus: does Natsu know the universality of the stance he preaches on sacrifice?

Chapter 534 explains that he does, further informing the reader that it was Makarov that instilled this theme of self preservation in him. Through Makarov’s words, Natsu carries out the ideology of the guild, instilling them in others and the reader throughout the narrative. Supplementing this notion, further back, in chapter 448 Natsu makes a proclamation to the entire guild, exclaiming their goal of survival above all else.

The question that follow is: why would mashima, foresake this essential facet of Natsu’s characterization, while having the character cognizant of the theme’s self-applicability? The answer lies in the overall narrative taking precedence over character consistency. The use of Happy in deflecting Natsu’s obstinance in defeating Zeref, serves several purposes to the story. 1. It solves the plot point regarding Igneel’s power and Natsu’s decision to charge for Zeref. 2. It allows Natsu to learn of his past and “get away with it.” 3. It allows for the exposition of secondary characters, guilds, etc. by preventing the narrative from being cut short 4. It allows Gray to confront Zeref for his trespasses against everyone dear to him 5. It serves to illustrate the depth of Happy and Natsu’s bond (which has been predominantly neglected). 6. It allows for END v Gray plot point to be addressed 7. It’ll serve as a parallel to Natsu stopping Gray from using Lost Iced Shell, thereby bringing closure to the growing friendship between Gray & Natsu.

Thus, from a utilitarian perspective, it’s natural that the temporary dissolution of Natsu’s characterization is a pragmatic means of tying up lose ends that result from questionable planning. Ultimately, this serves as a prime example of the overtly contrived nature the manga adopts as it reaches its conclusion.

#natsu dragneel #natsu dragneel character analysis #fairy tail #anti mashima #FT analysis

7 notes · View notes

xtsundere-princess · 6 years ago

Photo

Fairy Tail Manga Cover

Chapter 448: “Fight the Power”

#manga #fairy tail #ft manga #fairy tail manga #chapter 448 #manga cover #cana alberona

0 notes

evildeadfan102 · 8 years ago

Photo

Fairy Tail Chapter 448 :)

#fairy tail #chapter 448 #fairy tail chapter 448 #notjess

0 notes

scan-fr · 8 years ago

Link

#Scan Fairy Tail 448 VF

0 notes

recentanimenews · 7 years ago

Text

10 Classical Compositions that Anime Loves

For anime soundtracks, Western classical music can be a useful tool. One fewer cue to compose, for starters, and you don’t have to navigate the same rights issues that crop up when licensing contemporary music. Especially for more well-known pieces, there might be dozens of different recordings to choose from for just the right interpretation. Audience recognition helps too - there’s something special about hearing a familiar tune played over a pivotal scene. It’s not always used well (I can think of some very, very bad examples), but when smartly inserted, Western music can make for some truly iconic moments. Let’s take a look at some pieces that show up often in anime.

10. Polovtsian Dances from Prince Igor (Alexander Borodin)

youtube

[Pittsburgh Symphony Orchestra]

Although Borodin never finished the opera Prince Igor before his death in 1887, the Polovtsian Dances from the end of Act II survive in concert halls worldwide, as well as in pop culture. No. 17, “Gliding Dance of the Maidens,” appears in Kare Kano: His and Her Circumstances, as well as in the second season of Sound! Euphonium arranged for concert band. The piece itself comes from the scene in Prince Igor where the invading Turkic tribe celebrates the khan Konchak. It was intended to sound exotic when contrasted with the Russian folk music associated with the opera’s protagonists. The piece suggests another land, different and unknowable - appropriate for the finale of Blood Blockade Battlefront, when the supernatural world threatens to collide with the real one. It’s also frequently used in RahXephon to represent the Mulians, a mysterious race that controls music-powered clay mechs. Yoko Kanno even quotes its melody in “Garden of Everything,” the B-side of the movie’s ending theme. In both BBB and RahXephon, the Polovtsian Dances’ ‘foreignness’ emphasizes the long history behind their respective supernatural beings. It’s nice when soundtracks are thematically relevant like that!

9. Symphony No. 8 “Symphony of a Thousand” (Gustav Mahler)

youtube

While not as pervasive in anime as some of the other entries on this list, Mahler 8 (dubbed “Symphony of a Thousand” for its enormous orchestra and chorus) is still pretty iconic, figuring heavily in the broadcast order finale of The Melancholy of Haruhi Suzumiya (chronologically episode 6). The text of the piece itself revolves around redemption through love and confidence in humanity, making the symphony possibly one of the most uplifting pieces of late Romanticism. It’s fitting for a grand finale that [spoilers?] hinges on Haruhi and Kyon’s faith in humanity to keep reality from collapsing. No matter how unusual or interesting Haruhi’s alternate world may be, it’s solitary and miserable. To keep Haruhi from remaking reality according to her own whims, Kyon reminds her of the relationships she’d lose in hopes of grounding her enough to return them to reality. Who cares about a fun fantasy world without people to enjoy it with? Why reject everyone you love in favor of danger and uncertainty? Symphony of a Thousand is ultimately about embracing the human attachments we form, perfectly in line with the anime’s themes.

8. Nocturne Op. 9 No. 2 (Frederic Chopin)

youtube

[official? rubinstein]

A mainstay in film and TV, this nocturne is probably one of the first pieces people associate with Romantic keyboard music. It’s a go-to cue to telegraph that a character is sophisticated: Austria in Hetalia, one of the antagonists in Parasyte -the maxim-; Glasslip, Legend of Galactic Heroes, Momoiro Sisters, the list goes on. So it’s a nice change of pace when it’s used differently, like in the penultimate episode of Hybrid x Heart Magias Academy Ataraxia. The pairing of sweet evening music with a scene of busty, half-naked anime girls fighting to keep Tokyo from blowing up is hilariously jarring - just the way I like my fanservice anime. It’s totally in character for Hybrid x Heart to shoot for drama and blow straight into camp, and the scene is perhaps the best example of that tonal mismatch in the show’s entire run. I’m not sure how the impossibly shy Chopin would feel about his music being used this way, but hey, it’s not like he’s around to complain.

7. Prelude No. 1 from Well-Tempered Clavier (J.S. Bach) / “Ave Maria” (Charles Gounod)

youtube

The Well-Tempered Clavier, composed around 1722 to show off the latest advances in proto-piano technology, is today regarded as one of the Baroque period’s most important works, such that the dozens of preludes and fugues collected in two volumes are the bane of every piano student ever. But while most of WTC is unknown to people outside the music world, the first prelude remains Bach’s most well-known solo keyboard piece (the famous Minuet in G being the work of one of his colleagues). Over a century later, French operatist Charles Gounod superimposed a melody on it, eventually pairing it with the text of a Catholic prayer. The resulting song is about as famous as the original prelude, showing up all over popular culture. Puella Magi Madoka Magica, for an easy anime example. Yurikuma Arashi uses the piece as well, associating it with the bear deity Kumaria (the Virgin Beary, if you will). Yes, you read that right. “Ave Maria” for Kumaria. On the nose? Absolutely. Dead on the fuzzy little bear-girl nose. To be fair, none of the visual metaphors in Yurikuma are any more subtle, so it totally fits. Bless this show.

6. Sonata for Two Pianos in D major, K.448 (W.A. Mozart)

youtube

How do you depict a relationship between two musicians? In a duet, of course! It happens plenty in Your Lie in April in both four-hand piano and violin/piano combinations. But why restrict yourself to one piano when you can have two? That’s where Mozart’s K.448 comes in. When he was 25, he composed the two-piano sonata for a joint performance with his 23-year-old student Josepha Auernhammer, who was purportedly in love with him. Although nothing came of that relationship, the circumstances surrounding the piece’s composition perhaps make it tempting to assign romantic connotations to any performance of it. Certain anime take advantage of that: in Ouran High School Host Club (after Tamaki’s bizarre solo demonstration of both parts at once), a duo of middle schoolers learns the two-piano sonata to kick off their blossoming romance. In all versions of Nodame Cantabile, it’s the first collaboration the uptight Chiaki and carefree Nodame undertake together. Handing off the melody between them, Nodame and Chiaki must learn to respect and accomodate their conflicting personalities. It’s important that neither part is simply accompaniment to the other; unlike in a four-hand duet, where one person plays in the lower range and the other in the higher, the two players in a duo must be equally skilled, complementing each other rather than dominating. Chiaki and Nodame’s successful performance of the piece signals their mutual understanding of each other, the start of a complicated but enduring romance/friendship that carries through the rest of the series.

5. “Vocalise,” Op. 34 No. 14 (Sergei Rachmaninoff)

youtube

(unknown, but official upload)

“Vocalise,” as its title suggests, is one of 14 songs that Rachmaninoff originally composed for voice with piano accompaniment. These days, it’s often performed by an orchestra or a solo instrument. I have a particular fondness for Rach’s own orchestral arrangement, but the melody on its own is lovely as well. Melancholic and gorgeous, it suggests a profound loneliness. No wonder it tends to show up in heartwrenching anime scenes. In Puella Magi Madoka Magica, a recording of Kyousuke’s violin solo is yet another contributor to Sayaka’s despair. In Night Raid 1931, the piece is a running motif in spy Aoi Miyoshi’s troubled life, first as a joke about his poor violin skills, and then later as a prominent element in his backstory. His attachment to the piece turns out to be in remembrance of a lost love. It’s an expression of nostalgia to a time when his life was simpler, before Japan’s growing militarism erupted full force in Nanking and Korea, complicating his espionage work. The piece’s presence throughout the series in stilted, off-key form is so essential in making the final revelation land, music reaching clarity just as Miyoshi’s motivations do. It’s one of the best creative choices in a politically controversial but otherwise unremarkable anime, and Miyoshi’s story wouldn’t work nearly as well without it.

4. Piano Concerto No. 2 Op. 18 (Sergei Rachmaninoff)

youtube

I just mentioned a Rachmaninoff piece, but this one is too good to skip. One of the most notoriously difficult and exhausting pieces in the piano repertoire, Rachmaninoff’s second concerto (affectionately nicknamed “Rach 2”) is a perennial concert favorite. The technical skill and strength required to play the entire thing make it a survival challenge in itself. As such, it’s the highlight of the debuts of both Eugenie Danglars in Gankutsuou and Shinichi Chiaki in Nodame Cantabile. It also shows up in Fairy Tail underscoring the climactic fight between Erza and Azuma in episode 114. Throughout the development, Jellal reassures Erza that he’s supporting her in spirit. The music is well-matched to the action onscreen, reaching the virtuosic climax of the first movement at the decisive moment of the battle. As the final chords land, Erza regains her drive. The show does cut some of the tense buildup that I love Rach 2 for, but nonetheless, the payoff is still damn satisfying.

(On the subject of Rachmaninoff, his third piano concerto - my favorite piece of his - shows up markedly less often; the only anime example I can think of is in Legend of the Galactic Heroes. Maybe someday people will understand the glory of Rach 3. In the meantime, try humming the James Bond theme over Rach 2. It’s a lot of fun, I promise.)

3. Etude Op. 10 No. 3, “Tristesse” (Frederic Chopin)

youtube

Today, Chopin’s etudes (Op. 10 and 25) are staples of piano repertoire. Each is a study in a specific keyboard technique. The third etude “Tristesse” (sometimes “L’Adieu”), as it’s now known, emphasizes balance and smooth voicing. The melody - Chopin’s most beautiful, by his own judgment - is still beloved today. It can be heard in the Baccano! finale, as well as in Fullmetal Alchemist (2003) under the title “Tune of Separation,” arranged for string orchestra by Michiru Oshima. My favorite use of it is in the Genius Party short Baby Blue, directed by Shinichiro Watanabe. In the 15-minute film, the melody first appears when Shou sketches out an aimless tune on the piano. It comes back in full force in the dreamlike emotional climax, expressing the bittersweet nostalgia of youth as his childhood friend Hazuki bids him a final farewell. The piece may not have been composed with a narrative in mind, but its reputation as a piece about goodbyes serves it well here in one truly memorable scene.

2. “Clair de lune” from Suite bergamasque (Claude Debussy)

youtube

The third movement of Debussy’s Suite bergamasque, “Clair de lune” is one of the most iconic keyboard pieces in French Impressionism, a late 19th-/early 20th-century artistic movement that prioritized conveying a mood over presenting a detailed picture. That focus on atmosphere over a defined melody might be what makes the piece so appealing as a soundtrack. Its sentimental A-section appears in Kids on the Slope, Wandering Son, 18if, and even an inconsequential bath scene in Thermae Romae. Rarely, however, does anything use the entire piece - which means it stands out all the more in Your Lie in April. In episode 15, the piece perfectly underscores Tsubaki’s nighttime heart-to-heart with Kousei. Her lines are timed to match the piece’s phrasing, and as the music becomes more intense, so does her monologue. The flowing B-section expresses her desperation as she realizes that Kousei’s musical career is taking him out of her reach. By the time Kousei reaches the piece’s recap, we get the sense that something has changed. Tsubaki might be the same person she’s always been, but her relationships have been forever altered. Likewise, the last section of the piece sounds similar to the beginning, but elements of the B-section still linger as a reminder that things can’t stay the same. The scene is a pitch-perfect marriage of story and soundtrack, and my favorite use of “Clair de lune” in anything, full stop.

1. Symphony No. 9, “Choral” (Ludwig van Beethoven)

youtube

Generally agreed to be Beethoven’s greatest work, Beethoven 9 was unique for Classical-era music in that it introduced a chorus layered over the orchestra - hence the nickname. The symphony is an easy go-to for a grandiose and triumphant score, since the “Ode to Joy” melody from the last movement is immediately recognizable. No wonder it’s popular worldwide - especially so in Japan. The piece appears in Gunslinger Girl, the Nodame Cantabile J-drama, and a number of other shows. Thanks to Kaworu Nagisa in Neon Genesis Evangelion, it’s now also the “sophisticated, vaguely menacing white-haired anime boy” leitmotif - think Shogo Makishima in Pyscho-Pass, for instance. And for good reason! The last scene in episode 24 of EVA is easily one of the most iconic, disturbing moments in anime. The minutes-long still shot and delicious irony of a piece about joy played over Shinji’s worst emotional low leave a real impression. Plus, Alexander Rahbari’s interpretation of the piece is one of my favorites, capturing a fierce rawness that’s often missing in more technically polished recordings.

But because Beethoven 9 is such a seminal work of music, I can’t limit this entry to just EVA. In Yuri!!! on ICE, Otabek Altin’s free skate music is a unique arrangement of the symphony’s second movement. While the original piece was already groundbreaking, composer Taku Matsushiba takes it some really interesting places. Beefing up the chorus and brass sections to make the overall sound even bigger, Matsushiba re-orchestrates the piece to sound decidedly more modern in places. The end result is simultaneously traditional and transgressive, but most importantly, A Lot. EVA may have used the symphony to devastating effect, but this wonderfully cheesy reinterpretation is more special to me for capturing the blend of silly and serious that I love about anime.

These aren’t all of them, not even close. I didn’t even get to Michiru Oshima’s string arrangement of Beethoven’s Tempest Sonata in Blast of Tempest, the infamous Hallelujah scene in Evangelion, or the sheer variety of music used in Princess Tutu, Legend of the Galactic Heroes, and ClassicaLoid. And that’s to say nothing of Yoshihisa Hirano’s habit of quoting other works in his soundtracks: Prokofiev’s Romeo and Juliet in Hunter x Hunter, Bizet/Sarasate in Ouran some vaguely Orffian strains in Death Note. Meanwhile, Yuri!!! on ICE uses both real pieces (Tchaik’s Sleeping Beauty, Mendelssohn’s Violin Concerto Op. 64, Mussorgsky’s Pictures at an Exhibition) and sound-alikes (Taku Matsushiba’s “Rapsodie Espagnole” resembles Ravel’s Bolero, “Stammi vicino, non te ne andare,” Puccini with a hint of Wagner; and “Allego Appassionato,” Rachmaninoff, what with the absurdly difficult techniques in its latter half). You can find Western art music all over the place in anime if you just look.

On that note (heh), what’s your favorite classical piece in anime?

---

Micchy is an enormous dweeb who tries and fails to hide her anime obsession behind a skating otaku facade. Follow her on Twitter @Liuwdere for more vaguely anime-related content.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

1 note · View note