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maymayandthehog · 2 months ago

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Mabel quietly unfolded the printout and read it again as Bill spoke. She glanced down at the paper, then back up at Bill, then down again.

If she looked conflicted, that was because she was.

She had thought about what she would do if Bill were to return. Typically, the fantasy involved copious amounts of guacamole and queso, but it existed in the same hypothetical world as owning a Pegasus, or winning the lottery and using the money to fund her own line of full body trampoline suits. (MOON SHOES II, she'd call them, THE SUITENING.)

But here he was, alive—and maybe a little off color—but otherwise fully intact. Though the apology sounded strained, it felt genuine, or as genuine as Bill was capable of. Surely that counted for something, right? If nothing else, he was trying.

But how much did trying count for when he tried to murder their entire family? You don't shoot someone in the head and then expect an "I'm sorry" to wipe up the brain matter splattered against the linoleum. She still had nightmares. Less frequent than they had been in her early teens, but even now, she would sometimes wake up with images of sharp teeth and tapestries still burning in her mind's eye.

What if it was a trick?

What if it wasn't?

And that was another thing, if Bill was telling the truth, then it wasn't just him at stake. Grunkle Ford, or some version of him, had grown desperate enough to shake hands with his mortal enemy.

What did that mean?

It meant that whatever danger Grunkle Ford was in, Bill was the safer choice.

There was a long silence, and then...

"Prove it," she said, finally. "If Grunkle Ford really did come to you for help, then I want to see him. I want to hear it from him."

(@maymayandthehog resuming from last post)

"WELL, I WASN'T GOING TO BE HERE. BUT YEAH, I'M HERE. KIND OF HARD NOT TO BE WHEN YOU SEE ALL POSSIBLE OUTCOMES."

Bill appears, sitting in the seat that Mabel just stood up from. He's not as bright and brilliant as Mabel might remember; he's a little darker, his tone a little less eye-gougingly yellow, more of an amber or marigold hue. He's not exuding his usual smug self-satisfaction. He toys with the boom mic for a second with a small black finger. Almost like he's nervous. Giving every vibe of a skittish animal ready to bolt in an instant if necessary. He's small, his legs dangling off the edge of the seat, nowhere near touching the floor.

"THERE'S FIFTY-SEVEN OTHER UNIVERSES WHERE YOU TELL ME TO BUZZ OFF. THANKS FOR BEING THE ONE THAT DIDN'T." His pupil moves, focuses on Mabel's face for a second and then he looks away again. "I'LL GET RIGHT TO THE POINT. YOU'RE PROBABLY STILL MAD AT ME AND THAT'S FINE. LOTS OF PEOPLE HAVE BEEN MAD AT ME FOR LOTS OF REASONS."

He leans back against the chair, eye closing for a moment. "I WOULD SAY THAT I'M SORRY, BECAUSE I KIND OF AM, BUT ALSO I KIND OF CAN'T, BECAUSE I'M KIND OF NOT. DESPITE THAT, LET'S SAY THAT I AM, FOR THE SAKE OF HAVING A CONVERSATION THAT LASTS LONGER THAN FOUR SECONDS AND YOU BEING NUMBER FIFTY-EIGHT KICKING ME OUT THE DOOR, AND THAT THE WHOLE MESS IS… COMPLICATED. IN A WAY I KNOW YOU'D UNDERSTAND IF I WALKED YOU THROUGH IT, BUT WHICH I'M NOT SURE YOU WANT TO HEAR THE EXPLANATION FOR, EITHER."

He huffs softly through his closed eyelids, passes a hand over it. "NO, LET ME TRY THIS AGAIN. I'M TRYING. THIS IS THE WORST. FEELINGS ARE HAPPENING. I'M SHOWING MY BELLY AND I'M NOT USED TO IT AND I DON'T LIKE IT, BUT I CAN'T SEEM TO STOP WHAT'S STARTING NOW THAT IT'S STARTED. I'M BACK IN THE NARRATIVE NOW. SO… I'M SORRY. AS SINCERE AS YOU ARE WILLING TO IMAGINE I CAN BE SAYING THAT."

Pause.

"I NEED SOMEONE BETTER AT FEELINGS THAN STANFORD OR … THAT USELESS KNOW-NOTHING PLATITUDE-BLATHERING COURT-MANDATED """"THERAPIST""". TO TALK TO. THAT'S ALL I WANT. THIS ISNT A GAME. I'M DONE WITH GAMES."

Bill peers over and up at Mabel, gauging her reaction.

#annoyangle #thread

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nelmyrion · 5 years ago

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[ArcheAge]

~ Paradise ~

#ArcheAge #Videogame #Fantasy #ScreenShot #Angel #Demon #Elf #Pegasus #Horse #Paradise #ArcheAge II #Скриншот #Фэнтези

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eeriecrafts · 2 years ago

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Pegasus Fantasy Chibis|| Gold Saints and Athena

Last month, I made these chibis to print as gift stickers for the attendees of the Saint Seiya Symphonic Concert at Arena CDMX as shown here

Some of those stickers made it to the performers and organizers of the event which made me very happy :) I wanted to put all the chibis together in a single picture so I made this poster! Maybe for part II of Pegasus Fantasy I'll draw the Specters or Marinas! I'll add it in HQ for this month's reward~

You can find me as eeriecrafts @ Twitter||Facebook||Instagram|| Patreon||Ko-fi||Pixiv||Twitch||TikTok

Commissions open

#stsfanwork #erinomono #saint seiya #pegasus fantasy #gold sains #stseiya

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slotceleb876 · 3 years ago

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auressea · 2 years ago

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oof. '81/'82 were A.Lot.

The Space Shuttle

Music Videos.. but especially Thriller! Boy George, Annie Lenox, Men at Work, also U2!

The Commodore 64

The Elfquest Comics

Nightrider, The Greatest American Hero, Diff'rent Strokes, Fame! and The Facts of Life and Family Ties

so many movies!

E.T. the Extra-Terrestrial, Rocky III, Star Trek II: The Wrath of Khan, Annie- The MUSICAL, Chariots of Fire, Gandhi

I got my St. John's Ambulance Babysitter's certificate so I could start working.

School! I started at a very small all-girls private school in grade 8. I had to wear a uniform everyday. I was the only one who lived in an apartment. I was the only 'scholarship' kid. This shit was HARD.

Current Events in school:

The Falkland war, someone got into the Queen's bedroom!, IRA bombings, SAve the Wales! SAve the rainforests! Stop the Bomb!, the first artificial heart!, Ocean Ranger sank. poisoned Tylenol.

I can't even begin to guess about the paperbacks I read. I was voracious sci-fi and fantasy reader.

Dragons and Pegasus probably.

If you guys were on here at 11 years old what would you be posting about

#my life #a retrospective #pre-teen #nostalgia intensifies #the 80s

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fuckyeahclassiclink · 7 years ago

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What is your least favorite thing about the Downfall games? And could you list the biggest gripe you have with each Downfall game?

I don’t think I have a universal gripe that applies to all of the downfall games since they all kind of do their own thing. One problem I have won’t really be a thing in the other games. But I can answer my biggest gripes for each game.

For the original NES game, The Hyrule Fantasy, I think it’s the useless overworld map, but that’s been fixed by hackers. I guess my second biggest gripe is how unreliable the recorder’s teleportation is, supposedly you can control where it takes you but i’ve never managed to get that trick to work. Also blue Wizzrobes in general.

For Zelda II the Adventure of Link, it’s being sent back to the start of the game on a game over. This too, has been addressed by Hackers. So I guess my new complaint is that magic recovery jars are too rare for how important they are. There’s nothing worse than being in a palace and needing the fairy spell, but you can’t do it because of the healing spell you were forced to use to survive.

For A Link to the Past, it’s hard to think of one big gripe with this game, I only have a few small gripes. I guess if I had to pick a few of those, it’d be that the game feels kind of slow compared to other 2D Zelda games, the sprites are kinda ugly, and it’s slightly more linear than Zelda 1... oh, and fuck that shovel mini-game.

For Link’s Awakening, I hate having to swap out my sword and shield for other items. I understand, it’s a gameboy game, there were only two buttons. Granted, the same is said of Zelda 1, but Zelda 1 didn’t need you to swap out for roc’s feather, power bracelet, and Pegasus boots so often.

For Ocarina of Time, it’s all the slow unskippable text. That’s fine on your first play through, but I like re-playing my favorite games. Sometimes I just want to speed through it. I guess I also kind of wish Hyrule field was more dense and full of monsters like Termina Field is. Also, fuck the iron boots, and fuck any puzzle where you have to push a stone block.

For Oracle of Seasons, I think they went a little too far with the fetch questing. I remember thinking that time spent between dungeons felt like a drag, which is weird, because overworld exploring is usually my favorite part of Zelda.

For Oracle of Ages I just don’t really like the whole package here tbh. It has all the problems of seasons but worse, and the dungeons weren’t very fun either, it was a lot more story and puzzle focused than seasons, and I just don’t think text heavy story works great for 2D Zelda. Link’s Awakening isn’t text heavy, and it has an amazing story. And fuck the Tokay. I hate everything about them.

For a Link Between Worlds, I hate how we had to reach a certain point in the story before we could permanently buy items from Ravio. If I want to run around cutting grass to grind for the money to buy an item instead of renting, I should be able to do it. Having to give the items back was painful. Also, it meant going back to Link’s house on a game over... which... well that was a huge problem for Zelda 2 now wasn’t it? At least this game isn’t as hard unless you’re doing hero mode... also, why make hero mode an unlockable exactly? What’s the point of making difficulty settings unloackable? Didn’t that come out right after Wind Waker HD, where you could actually toggle hero mode on and off at will?

#teh-ray

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saintseiya-zone · 1 year ago

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I forgot to say this but I'm on vacation [and will go to the Pegasus Fantasy II Symphonic Experience concert] so news posts will be delayed for a bit :)

#admin post

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aion-rsa · 3 years ago

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Why Clash Of The Titans Was The End Of An Era

https://ift.tt/3xChOFQ

It was 40 years ago, in June 1981, that Clash of the Titans, the last film to feature the stop-motion animation effects of Ray Harryhausen, was released.

Starring a then-unknown Harry Hamlin, along with veteran stars like Laurence Olivier, Maggie Smith, Burgess Meredith, and Ursula Andress, the film was loosely based on the Greek myth of Perseus (Hamlin), weaving in strands of other mythologies and legends and putting its hero into conflict with creatures like the Kraken, Calibos, Medusa the Gorgon and a two-headed dog named Dioskilos.

“Greek and Roman myths contained characters and fantastic creatures that were ideal for cinematic adventures,” wrote Harryhausen in his memoir, Ray Harryhausen: An Animated Life. “If some of the adventures were combined with 20th century storytelling, a timeless narrative could be constructed that would appeal to both young and old.”

Harryhausen was already a filmmaking legend by the time he began work on Clash of the Titans. Born in Los Angeles on June 29, 1920, a 13-year-old Harryhausen’s life was changed when he saw King Kong for the first time in 1933. Inspired by the groundbreaking stop-motion animation work in that film by Willis O’Brien, Harryhausen began experimenting with his own short films employing the same process.

He got to meet O’Brien at one point, with the visual effects pioneer encouraging the young Harryhausen to keep refining and improving his work. Some years later, after attending USC, doing a stint in the military during World War II and working at his first professional job on George Pal’s Puppetoons, Harryhausen landed a job as O’Brien’s assistant on Mighty Joe Young (1949).

It was on 1953’s The Beast from 20,000 Fathoms, the first film on which Harryhausen was in charge of the visual effects, that he created the process known as “Dynamation,” which allowed for greater and more realistic interaction between his stop-motion creatures and live actors.

In 1955, Harryhausen met producer Charles H. Schneer and formed a partnership that would begin with Harryhausen’s next feature, It Came from Beneath the Sea (1955), and last all the way through their final collaboration on Clash of the Titans.

Their run of pictures included fantasy and sci-fi classics such as Earth vs. the Flying Saucers (1956), 20 Million Miles to Earth (1957), The 7th Voyage of Sinbad (1958), Jason and the Argonauts (1963), One Million Years B.C.(1966), The Golden Voyage of Sinbad (1974) and many others.

Unlike many visual effects artists even to this day, Harryhausen had an unusually high degree of creative control over his projects. He didn’t just animate the monsters; he was involved in the conceptual and story development, production design, and many other aspects, acting as a co-producer with Schneer and sometimes as a co-director — an agreement that any director of a Harryhausen film had to abide by.

Harryhausen even received co-producer credit on The Golden Voyage of Sinbad, a title he would also officially obtain on his and Schneer’s next and last two pictures, Sinbad and the Eye of the Tiger (1977) and Clash of the Titans. “I felt he deserved it,” Schneer told Starlog magazine (#152) in March 1990. “It was a recognition that Ray contributed more than just the special FX. His input was added from day one.”

Clash of the Titans was an idea that Harryhausen had been kicking around since the late 1950s, with screenwriter Beverley Cross (who wrote the final script for Titans) penning a treatment called Perseus and the Gorgon’s Head in 1969. Although the plans were delayed by the next two Sinbad pictures, work on the project began in earnest as Sinbad and the Eye of the Tiger neared completion.

“The original legend of Perseus is complex and convoluted,” wrote Harryhausen in An Animated Life. “So we had to manipulate events, stealing from one legend and putting it in another.” Harryhausen cited the creation of the winged horse Pegasus as one example: in the original story, Pegasus is born from the blood of Medusa’s severed head. But since her death would come near the end of the film, a different scene involving Perseus capturing and training Pegasus was conceived to bring him in earlier.

With a screenplay and production storyboards ready, Schneer presented the film to Columbia Pictures, where he and Harryhausen had a number of successes over the years. But the studio balked at the $15 million budget — more than all Harryhausen and Schneer’s previous films combined — so Schneer next brought it to Orion Pictures.

MGM/Warner Bros.

That company had one request: cast a then obscure but up-and-coming bodybuilder-turned-actor named Arnold Schwarzenegger as Perseus. This time Schneer and Harryhausen balked. “I told them he didn’t fit the part, because it had dialogue,” Schneer told Starlog. “But Orion considered his casting to be a deal breaker. They refused to accept another actor, so I walked out on them.” Eventually, Metro-Goldwyn-Mayer showed great enthusiasm for the project, providing the full budget and even a bit more.

Schneer, Harryhausen and director Desmond Davis — whom Schneer had hired because of his work with Shakespearean actors on several BBC productions of the Bard’s plays — looked at Malcolm McDowell, Michael York and Richard Chamberlain for Perseus before choosing Hamlin. “Harry had only made one picture, but had considerable stage experience,” wrote Harryhausen. “Not only was it felt that he would be able to handle the role and the effects, but he also looked the part.”

Hamlin told Starlog (#46) in May 1981 that he was initially reluctant to take the role, thinking it would be strictly a monster picture, until he saw the rest of the cast that was involved. But he was also drawn to the idea of playing a hero in the classical sense.

“I’m playing an across-the-board Greek hero type,” he explained. “Perseus has no superpowers himself. He has a few accoutrements, such as a sword and a helmet which makes him invisible. He has a magic shield. He’s a real hero in the classic sense. It’s a good role. I’ve always wanted to be a hero.”

Esteemed British actors like Olivier, Smith, Jack Gwillim, Claire Bloom and Sian Phillips embodied the constantly scheming, calculating gods Zeus, Thetis, Poseidon, Hera, and Cassiopeia, while Meredith — best known as the Penguin on the Batman TV series — was cast as the playwright Ammon. John Gielgud, Ralph Richardson and even Orson Welles were considered for Zeus until Olivier accepted the role.

“I told Ray that if he thought he was the star of our pictures, then I was going to upstage him once and for all,” Schneer jokingly told Starlog. “I was going to cast actors who were bigger names than he was, and whose work the world knew better than his. I wanted to see if he could survive.”

Movies

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By Marc Buxton

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25 great stop-motion moments in live-action films

By Ryan Lambie

The movie begins with an infant Perseus and his mother Danae being sealed in a box and cast into the sea by Danae’s father, King Acrisius, who is enraged that the god Zeus (Olivier) impregnated Danae with the child. Perseus is rescued and grows to become a young man, while a furious Zeus orders from Olympus that the Kraken — last of the Titans — be released to destroy Acrisius and his kingdom.

Sometime later, the adult Perseus wants to win the hand of the beautiful Andromeda (Judi Bowker), who was once betrothed to a prince named Calibos. But Calibos (played by both actor Neil McCarthy and a stop-motion model) was turned into a monster by Zeus after the former offended the gods, and any prospective new husband for Andromeda must now answer a riddle concocted by the man-monster.

Andromeda is eventually offered to the Kraken as a sacrifice even after Perseus successfully answers the riddle. The only way for the giant sea creature to be defeated is for Perseus to voyage to the island of Medusa, sever her head, and use her eyes to turn the Kraken into stone — unless Perseus succumbs first.

Clash was shot at England’s Pinewood Studios, with location filming in Spain, Malta, and southern Italy. Principal photography began in May 1979 and concluded in September of the same year. Harryhausen then began the arduous, 18-month process of creating all the Dynarama effects (Dynamation had been renamed) and animating all the film’s creatures, from Calibos to the Kraken to the eerie Medusa to the mechanical owl Bubo, which Harryhausen said was not a riff on R2-D2 from Star Wars.

To complete the post-production work in time for the film’s June 1981 release, Harryhausen — who usually worked completely alone — brought in additional animators Steve Archer and Jim Danforth.

MGM/Warner Bros.

“I enjoy working by myself,” Harryhausen said in Starlog #127 (February 1988). “I did all but one of my films entirely on my own. Clash of the Titans was the only picture on which I had assistants for the animation. I always liked to put my mark on the work because that’s the final imprint you see on the screen. I felt a personal attachment to my films.”

But Harryhausen admitted that the grueling work of sitting alone in a studio, doing the frame-by-frame movements and shots that are at the core of stop-motion animation, began getting to him as he raced to finish his work in January 1981.

“It is always a frame-by-frame process which takes time,” he told Fangoria magazine in June of that year. “One of the greatest problems in this field is that after everyone’s forgotten the picture you have to go on keeping excited and interested in what you are doing in order to go on for another year. Sometimes it gets a bit dismal but I survive.”

The film did meet its release date as MGM’s major release for the summer of 1981. Released on the same date as Raiders of the Lost Ark, it came in second to that film with a first weekend gross of $6.5 million. It finished 19th for the year at the domestic box office with total earnings of $30 million. Although some reports had it earning a total of $70 million worldwide, it actually topped out at $44.4 million — still a sizable hit against its $15 million budget and the equivalent of nearly $99 million today.

Critics and fans were mixed on the film, with the former giving it a 67% fresh rating on Rotten Tomatoes and the latter awarding it a slightly better 70% score. While Roger Ebert called it a “grand and glorious romantic adventure, giving it three-and-a-half out of four stars, Variety absolutely buried the film, calling it an “unbearable bore” and targeting Harryhausen’s “endless array of flat, outdated special effects.”

For Harryhausen, the Variety slam in particular seemed to flip a switch inside him. “When I came to read the Variety review…I became very disillusioned,” he wrote in An Animated Life. “I gave the film so much of myself that when it was vindictively and unconstructively torn apart, the passion of filmmaking seemed to die.”

Schneer told Starlog that he sensed a change in his longtime friend and partner after Clash was completed. “It was a gradual process,” he said. “It didn’t happen overnight. I saw it coming at the end of Clash. I could see that Ray was getting older….the trial of making a picture is so draining, that I don’t blame him for backing away from it.”

While Harryhausen’s work in the field of fantasy filmmaking is unparalleled in its imagination and influence — everyone from George Lucas to James Cameron to Guillermo Del Toro has cited the man’s work as an inspiration — it’s clear that Clash of the Titans did indeed mark the end of an era. The effects look dated now, which could certainly be expected 40 years later; but at the time of the movie’s release, the previous five years alone had seen a massive upheaval in cinematic visual effects.

Star Wars, Superman, Close Encounters of the Third Kind, Star Trek: The Motion Picture, Alien and The Empire Strikes Back had all come out in the years immediately before Clash, with all of those movies revolutionizing the way in which visual effects were achieved to one degree or another.

The incredible new techniques used to create epic space battles, detailed and awe-inspiring starships and lifelike monsters and extra-terrestrials all left Harryhausen’s painstakingly handcrafted and impressive — if now undeniably quaint — methods in the dust (although stop-motion was still deployed in small doses in several films, most notably The Empire Strikes Back).

Computers were already being used to create the dazzling space dogfights shots in movies like Star Wars, and even more groundbreaking use of computers — the CG revolution — was on the way, with Tron giving the first glimpse of what was to come just a year after Clash of the Titans came out (Clash itself was remade in 2010, using many of the techniques fashioned in the last 30 years with disappointing results).

Harryhausen himself seemed to recognize what was coming. Although he and Schneer began preparing two more films — Sinbad Goes to Mars and Force of the Trojans — neither project got the necessary backing and Harryhausen decided to quit while he was ahead. “The decision to end my career at that point was absolutely right,” he recalled in An Animated Life. “I was forced to concede that it was time to stand aside for others and their new technology to take over.”

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For movie lovers and fantasy fans of a certain age, Clash of the Titans was their first exposure not just to the work of Ray Harryhausen (who died on May 7, 2013, at the age of 92), but to the magic of fantasy storytelling, the wonders of stop-motion animation and the resonance of Greek mythology.

All of Harryhausen’s films provided that kind of entertainment and enlightenment to different generations, and were the link between the work of Willis O’Brien on King Kong and the trailblazing era of effects defined by companies like Industrial Light and Magic, Digital Domain and Weta. Progress is necessary and change is inevitable; yet Clash of the Titans brought down the curtain on a career and a style of filmmaking that may be behind us, but will live on in the imaginations of all they touched.

The post Why Clash Of The Titans Was The End Of An Era appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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sinoftheabyss · 7 years ago

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Anime openings I gave 5/5 stars - Part 17: Letter S (Includes Devil Survivor 2: The Animation because I forgot it on the “D” post)

Saber Marionette J OP1 - “Successful Mission” by Megumi Hayashibara

Sacred Seven OP1 - “Stone Cold” by FictionJunction

Saekano: How to Raise a Boring Girlfriend OP1 - “Kimi-iro Signal” by Luna Haruna

Saga of Tanya the Evil OP1 - “JINGO JUNGLE” by MYTH & ROID

Sagrada Reset OP2 - “Dakara Boku wa Boku wo Tebanasu” by WEAVER

Sailor Moon Crystal OP1 - “MOON PRIDE” by Momoiro Clover Z

Saint Seiya OP1 - “Pegasus Fantasy” by MAKE-UP

Saint Seiya: The Hades Chapter - Inferno OP1 - “Megami no Senshi ~Pegasus Forever~” by Marina del Ray

Saint Seiya: The Lost Canvas OP1 - “The Realm of Athena” by EUROX

Saint Seiya Omega OP1 - “Pegasus Fantasy ver.Ω” by MAKE-UP feat. Shoko Nakagawa

Saint Seiya Omega OP2 - “Shinsei Ω Shinwa” by √5

Saint Seiya Omega OP3 - “Mirai Saint Ω ~Saint Evolution~” by Nagareda Project

Saint Seiya Omega OP4 - “Senkou Strings” by Cyntia

Gensomaden Saiyuki OP1 - “For Real” by Hidenori Tokuyama

Saiyuki Reload: Gunlock OP1 - “Don’t Look Back Again” by WAG

Saiyuki Reload Blast OP1 - “move on! Ibara Michi” by GRANRODEO

Saki Achiga-hen episode of Side-A OP1 - “MIRACLE RUSH” by StylipS

Samurai 7 OP1 - “UNLIMITED” by Nanase Aikawa

Samurai Champloo OP1 - “Battlecry” by Nujabes feat. SHING02

Samurai Deeper Kyo OP1 - “Ao no Requiem” by Pipeline Project featuring Yuiko Tsubokura

Samurai Flamenco OP1 - “JUST ONE LIFE” by SPYAIR

Samurai Flamenco OP2 - “Ai Ai Ai ni Utarete Bye Bye Bye” by FLOW

Sasami-san@Ganbaranai OP1 - “Alteration” by ZAQ

Sayonara, Zetsubou-Sensei OP1 - “Hito Toshite Jiku ga Bureteiru” by Kenji Ohtsuki feat. Ai Nonaka, Marina Inoue, Yuu Kobayashi, Miyuki Sawashiro, & Ryoko Shintani

School Rumble OP1 - “Scramble” by Yui Horie with UNSCANDAL

School-Live! OP1 - “Friend Shitai” by Gakuen Seikatsu-bu

Schwarzesmarken OP1 - “white forces” by fripSide

s-CRY-ed OP1 - “Reckless Fire” by Yasuaki Ide

s-CRY-ed OP2 - “Drastic my soul” by Mikio Sakai {Also serves as ED1)

Scum’s Wish OP1 - “Uso no Hibana” by 96neko

Seisen Cerberus OP1 - “Resonant Heart” by Maaya Uchida

Seitokai Yakuindomo OP1 - “Yamato Nadeshiko Education” by Triple Booking

Sengoku Basara: Samurai Kings OP1 - “JAP” by abingdon boys school

Sengoku Basara: Samurai Kings Two OP1 - “SWORD SUMMIT” by T.M.Revolution

Sengoku Basara: Samurai Kings - The Movie OP - “FLAGS” by T.M.Revolution

Sengoku Basara: Samurai Kings - Judge End OP1 - “Thunderclap” by Fear, and Loathing in Las Vegas

Sengoku Collection OP2 - “Back into my world” by Sweety

Senyu. OP1 - “THE MONSTERS” by JAM Project

Senyu. 2 OP1 - “CANARY” by GRANRODEO

Seraph of the End: Battle in Nagoya OP1 - “Two souls -toward the truth-” by fripSide

Serial Experiments Lain OP1 - “Duvet” by Bôa

Servamp OP1 - “Deal with” by OLDCODEX

The Seven Deadly Sins OP1 - “Netsujou no Spectrum” by Ikimono-gakari

The Seven Deadly Sins OP2 - “Seven Deadly Sins” by MAN WITH A MISSION

The Seven Deadly Sins: Signs of Holy War OP1 - “CLASSIC” by MUCC

The Seven Deadly Sins: Revival of the Commandments OP1 - “Howling” by FLOW×GRANRODEO

The Severing Crime Edge OP1 - “Unmei no Ori” by Aimi

Shakugan no Shana OP1 - “Hisoku no Sora” by Mami Kawada

Shakugan no Shana Second OP1 - “JOINT” by Mami Kawada

Shakugan no Shana S OP1 - “Prophecy” by Mami Kawada

Shakugan no Shana Final OP1 - “Light My Fire” by KOTOKO

Shakugan no Shana Final OP2 - “Serment” by Mami Kawada

Shaman King OP1 - “Over Soul” by Megumi Hayashibara

Shaman King OP2 - “Northern Lights” by Megumi Hayashibara

Shiki OP1 - “Kuchizuke” by BUCK-TICK

Shiki OP2 - “Calendula Requiem” by kanon × kanon

Devil Survivor 2: The Animation OP1 - “Take Your Way” by livetune adding Fukaze (from SEKAI NO OWARI)

Shining Tears X Wind OP1 - “Shining Tears” by Souichiro Hoshi

Shirobako OP1 - “COLORFUL BOX” by Yoko Ishida

Shirokuma Cafe OP1 - “Boku ni Invitation” by JP

Shonen Maid OP1 - “innocent promise” by TRUSTRICK

Shonen Onmyoji OP1 - “Egao no Wake” by Kaori Hikita

Shugo Chara! OP2 - “Minna Daisuki” by Buono!

The Silver Guardian OP1 - “Mamori Tsunagu” by Rin Akatsuki

SKET Dance OP2 - “Michi” by The Sketchbook

SKET Dance OP5 - “Reboot” by everset

Skip Beat! OP1 - “Dream Star” by the generous

Skip Beat! OP2 - “Renaissance” by the generous

The Skull Man OP1 - “Hikari no Machi” by TOKIO

Sky Wizards Academy OP1 - “D.O.B.” by Iori Nomizu

So, I Can’t Play H! OP1 - “Reason why XXX” by Sayaka Sasaki

Sorcerous Stabber Orphen OP1 - “Ai, Just On My Love” by Sharan Q

Sorcerous Stabber Orphen OP2 - “Kimi wa Majutsushi?” by Sharan Q

Soul Buster OP1 - “SOUL BUSTER” by Ayane

Soul Eater OP1 - “resonance” by T.M.Revolution

Soul Eater OP2 - “PAPERMOON” by Tommy heavenly6

Soul Eater: Repeat Show OP1 - “Counter Identity” by UNISON SQUARE GARDEN

Soul Eater NOT! OP1 - “monochrome” by Dancing Dolls!!

Sound of the Sky OP1 - “Hikari no Senritsu” by Kalafina

Sound! Euphonium OP1 - “DREAM SOLISTER” by TRUE

Sound! Euphonium 2 OP1 - “Soundscape” by TRUE

Space Battleship Yamato 2199 (TV) OP2 - “Fight For Liberty” by UVERworld

Space Brothers OP8 - “B.B.” by THE YATO

Special A OP2 - “Gorgeous 4U” by Jun Fukuyama, Hiro Shimono, Tsubasa Yonaga, & Kazuma Horie

Star Driver OP1 - “Gravity Ø” by Aqua Timez

Steins;Gate OP1 - “Hacking To The Gate” by Kanako Itou

Steins;Gate: The Movie - Load Region of Déjà Vu OP - “Anata no Eranda Kono Toki wo” by Kanako Itou

Steins;Gate 0 OP1 - “Fatima” by Kanako Itou

Stella Women’s Academy, High School Division Class C3 OP1 - “Shape My Story” by Anna Yano

Strawberry Panic OP1 - “Shoujo Meiro de Tsukamaete” by Aki Misato

Strike the Blood OP1 - “Strike the Blood” by Kishida Kyoudan & THE Akeboshi Rockets

Strike the Blood OP2 - “Fight 4 Real” by ALTIMA

Strike the Blood: Kingdom of the Valkyria OP1 - “Little Charm Fang” by Yuka Iguchi

Strike the Blood II OP1 - “Blood on the EDGE” by Kishida Kyoudan & THE Akeboshi Rockets

Student Council’s Discretion OP1 - “Treasure” by Hekiyou Gakuen Seitokai

Subete ga F ni Naru: The Perfect Insider OP1 - “talking” by KANA-BOON

Sunday Without God OP1 - “Birth” by Eri Kitamura

Sword Art Online OP1 - “crossing field” by LiSA

Sword Art Online OP2 - “INNOCENCE” by Eir Aoi

Sword Art Online II OP1 - “IGNITE” by Eir Aoi

Sword Art Online II OP2 - “courage” by Haruka Tomatsu

Sword Art Online Alternative: Gun Gale Online OP1 - “RYUSEI” by Eir Aoi

Sword Dynasty (JP) OP1 - “Shukugou no Ken” by Kanako Itou

Symphogear OP1 - “Synchrogazer” by Nana Mizuki

Symphogear G OP1 - “Vitalization” by Nana Mizuki

Symphogear GX OP1 - “Exterminate” by Nana Mizuki

Symphogear AXZ OP1 - “TESTAMENT” by Nana Mizuki

#Queue is a SiN #SiN's Playlist

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