Analysis of information sources in references of the Wikipedia article "Nodame Cantabile" in English language version.
Rather, the vast majority of music played throughout the series are brilliantly performed pieces or excerpts from various classical composers ... every piece was re-recorded to fit the context of the anime.
She adds that her carpal tunnels in her wrists are fine now, but she cannot turn her right shoulder as usual. Still, she said that she will continue serializing her work however she can.
By comparison, the latter half of the volume stays closer to home, doing what it does best: showing the interplay between a set of amusing, intriguing characters.
A storyline that pirouettes between bouncy jokes and subtle romance and musical rapture, this is one set of chapters that pulls you in with its sheer effervescence ... [Mozart]'s ebullient style seems to have rubbed off on Tomoko Ninomiya as well, as the entire recital arc glows with Wolfgang's unmistakable joy and humor.
Tomoko Ninomiya seems to enjoy keeping the panels relatively free of clutter and background distractions, which makes it easier to concentrate on the characters.
It's the other characters around him, as well as his interactions with them, that really drive this arc.
The series' artwork is at its most expressive when it comes to the music performance scenes ... sweeping lines, impressionistic backgrounds, and closeups that almost make it feel like being there... Ninomiya also uses layouts to her advantage—notice, for example, how the panels become more angular and compressed when Chiaki stresses out on his final assignment.
If there is any criticism to be had, it's that Tomoko Ninomiya seems to be having so much fun portraying the characters that the storyline sometimes gets off track.
The transition to the next stage of the story, however, is not quite as graceful: it takes some really stupid, improbable plot twists to get Chiaki into Stresemann's world tour, and their itinerary turns out to be even more outlandish.
Simple but striking character designs also add to the series' unique style, but the one major flaw is in the backgrounds—characters often find themselves standing in front of plain white space, a generic screentone, or a hastily drawn interior
７月発売のわたしの仕事 7/10 『Kiss』「のだめカンタービレ」連載開始
Ninomiya's cartooning is fairly simple, but her writing has a refreshing unpredictability.
Ninomiya uses good shape and form to make her characters stand out. On top of that she also has a good sense of style, which adds to the individual characteristics. The strongest aspect of her art is how she draws the expressions of her cast. With so little detail in her faces, she still is able to put in a good amount of emotion in them.
This series is all about the characters and the changing dynamics between them, and the various members of the supporting cast really do a lot to drive the series along.
After so much build up leading to Noda and Chiaki's decision to take their talents abroad, little of the preparation was discussed. Instead, Ninomiya fresh from a trip to France, jumped right into this next chapter
Her backgrounds ... can be stale, but she uses them more often than most josei artists so I applaud her for that.
The translation was jarring, and grossly unfair to the character. But it was fairly typical of the kind of "errors of voice" that occur on almost every page of translated manga today.
Ninomiya refrains from excessive melodrama, allowing the scenario to play itself out without calling undue attention to dramatic high points, and trusting to our familiarity with the dramatis personae to draw us into their world.
７月発売のわたしの仕事 7/10 『Kiss』「のだめカンタービレ」連載開始
She adds that her carpal tunnels in her wrists are fine now, but she cannot turn her right shoulder as usual. Still, she said that she will continue serializing her work however she can.
Rather, the vast majority of music played throughout the series are brilliantly performed pieces or excerpts from various classical composers ... every piece was re-recorded to fit the context of the anime.
By comparison, the latter half of the volume stays closer to home, doing what it does best: showing the interplay between a set of amusing, intriguing characters.
A storyline that pirouettes between bouncy jokes and subtle romance and musical rapture, this is one set of chapters that pulls you in with its sheer effervescence ... [Mozart]'s ebullient style seems to have rubbed off on Tomoko Ninomiya as well, as the entire recital arc glows with Wolfgang's unmistakable joy and humor.
Ninomiya's cartooning is fairly simple, but her writing has a refreshing unpredictability.
Tomoko Ninomiya seems to enjoy keeping the panels relatively free of clutter and background distractions, which makes it easier to concentrate on the characters.
Ninomiya uses good shape and form to make her characters stand out. On top of that she also has a good sense of style, which adds to the individual characteristics. The strongest aspect of her art is how she draws the expressions of her cast. With so little detail in her faces, she still is able to put in a good amount of emotion in them.
Ninomiya refrains from excessive melodrama, allowing the scenario to play itself out without calling undue attention to dramatic high points, and trusting to our familiarity with the dramatis personae to draw us into their world.
It's the other characters around him, as well as his interactions with them, that really drive this arc.
This series is all about the characters and the changing dynamics between them, and the various members of the supporting cast really do a lot to drive the series along.
The series' artwork is at its most expressive when it comes to the music performance scenes ... sweeping lines, impressionistic backgrounds, and closeups that almost make it feel like being there... Ninomiya also uses layouts to her advantage—notice, for example, how the panels become more angular and compressed when Chiaki stresses out on his final assignment.
If there is any criticism to be had, it's that Tomoko Ninomiya seems to be having so much fun portraying the characters that the storyline sometimes gets off track.
The transition to the next stage of the story, however, is not quite as graceful: it takes some really stupid, improbable plot twists to get Chiaki into Stresemann's world tour, and their itinerary turns out to be even more outlandish.
After so much build up leading to Noda and Chiaki's decision to take their talents abroad, little of the preparation was discussed. Instead, Ninomiya fresh from a trip to France, jumped right into this next chapter
Simple but striking character designs also add to the series' unique style, but the one major flaw is in the backgrounds—characters often find themselves standing in front of plain white space, a generic screentone, or a hastily drawn interior
Her backgrounds ... can be stale, but she uses them more often than most josei artists so I applaud her for that.
The translation was jarring, and grossly unfair to the character. But it was fairly typical of the kind of "errors of voice" that occur on almost every page of translated manga today.
