Plot Design and Mawaru Penguindrum 3

Today, I’m not going to talk about the third episode specifically, but instead talk about the last three episodes of the show. The third episode was largely that of dramatic exposition and character development. Naturally, there’s a lot to be talked about in that, as well, such as the Takakura family photo flipped over by Kanba when Ringo chose to come over, the diary and Ringo’s role in the grand scheme of destiny, and FABULOUS MAX. Not to mention the blatant Utena references (the cow costume and Nanami, anyone?) that showed up in this episode. Ikuhara continues to pile on the mysteries.

Geppu

Mawaru Penguindrum 2: Perspectives

I have to apologize for how late this is, as it’s a combination of both how long it took me to move all my stuff to my new apartment (well, really, my friend’s, since I’m moving out of the state next month) and a large-scale movie binge with my friends. I was thinking of releasing this article as a combination between episodes 2 and 3, but that ruins the fun of episode-by-episode discussion, and I already had half this written up by the day of this episode airing, so I figured that I might as well.

I think it goes without saying that PengiDrum is one of the most talked about shows of the 2011 summer anime season. I’m sure I’m missing a lot of bloggers’ insight on the show, as well as forum discussion as I’m rather limited in my scope for forums, but it seems that way.

Mawaru Penguindrum 1: A Look into Ikuhara and Symbolism

It should come as no surprise to anyone who knows me that Mawaru Penguindrum has long been my most anticipated show of the 2011 Summer anime season. This is because the director behind Pengi, Kunihiko Ikuhara, is none other than the director for Revolutionary Girl Utena, one of my favourite shows of all time, and arguably one of the most influential anime to have ever been produced. And now that the first episode of this show has aired, I once again have the opportunity to take the foray into the incredible mind of Ikuhara.