anonymous asked:

Top 5 Favourite Haikyuu seiyuus?

There are so many to choose from rip!!!

1. Kimura Ryouhei as Bokuto Koutarou. Yes, of course, always. His voice adds so much to an already wonderful character, and it fits him just perfectly. No one would ever do the iconic HEY HEY HEY the same way he does. If you ever saw him live, it’s incredible to see how much fun he has performing him…it just melts my heart <3

Originally posted by sarapyon

(A BABY!!!!)

2. Uchiyama Kouki as Tsukishima Kei. A voice I could recognize EVERYWHERE. His interpretation is so iconic that no matter in how many other anime I’ll meet him (basically in every single one of them), he will always be Tsukki’s voice to me. 

Originally posted by angelotaku


3. Okamoto Nobuhiko as Nishinoya Yuu. I ADORE HIM. Nishinoya is a character with a wide range of emotions and he’s perfect in every single one of them. Happy Noya, angry Noya, excited Noya, sad Noya…I guess if Noya is so special to me I have to thank him too. Never forget the iconic “JUST CALL FOR THE TOSS AGAIN, ACE!!”

Originally posted by angelotaku

(he’s beautiufl too just kill me already)

4. Irino Miyu as Sugawara Koushi. His voice is so perfect and calming, I love it especially when he delivers that snaky tone that’s so Suga. Simply, it brings joy to my heart every time I hear it.

Originally posted by sarapyon

5. Nakamura Yuuichi as Kuroo Tetsurou. His voice…does…things…to me…it’s like…a curse…running…from character…to character…RIP

Originally posted by hazukashi-yui

- Bonus: an honorable mention of course goes to Murase Ayumu for bringing Hinata to life, because his voice is exactly how Haikyuu sounds like in our hearts.

Originally posted by angelotaku

(the kagehina curse strikes again I see) 

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twelveclara  asked:

hi! i have become a huge fan of you in the past like day or so (i'm sure your activity page at this point looks like i'm stalking you) as all of your commentary is perfectly on point - i love moffat and i think he's done so much good for this show that it just drives me insane to see baseless commentary otherwise (especially when it's clear it's coming from people who don't even watch anymore). anyway you're doing the lord's work here and i thoroughly enjoy and appreciate it :)

Hi there!

Thank you so much! For the record, your blog is incredibly amazing also; I’m sure in the not-to-distant future your activity page will look just as obsessive as mine!

I love Steven Moffat so, so much too. The hilarious thing is that this wasn’t always the case. C.2013, I was definitively part of the Moffat Hate crowd! I was the first in line to reblog every “The Day of the Doctor hates New Who canon!”, and “Clara’s life revolves around The Doctor!”, and “River Song is a terrible, regressive female character!” post I could find. (Luckily my old old blog has long since been deleted!)

I think the thing to understand about Moffat Hate, (and i use that term accordingly. Legitimate critique of Moffat’s work is something I have no problem with, and something I partake in myself), is that it’s effectively a phenomenon. And one that can only ever have occured to a show like Doctor Who:

For people like myself, who sat down with their family as an eight year old kid to watch Rose as it first aired in 2005, Moffat’s takeover of the show coincided with adolescence, and therefore with our own blossoming social awareness and critical skills. By this point, Doctor Who had well and truly carved its place as a staple of British pop culture, and therefore as a staple of childhood influence. (I mean, I don’t know about in the US, but in the UK, you’d be hard pressed to find a primary school pupil across the country who wasn’t avidly discussing the cliffhanger at the end of The Stolen Earth the Monday after the episode aired! I can’t emphasise enough how utterly huge Doctor Who was as a child. It was literally all anyone talked about!) 

The RTD era of show therefore has a real place in the hearts of many, and so, as is the way with nostalgia, we link it directly to our childhoods and romanticise it. Add to that a burgeoning social media platform built on synergetic hyperbole and herd mentality, (I mean gosh look at the “your fave is problematic” discourse, and how hard everyone here collectively turned from Superwholock Stans to agressively hating all three shows in the space of a few months), an unfortunately normal dose of self-critical cringe culture, (what we engage with and enjoy as tweens is automatically horribly uncool and terrible the older we get), and Moffat’s era never really stood a chance!

It was only upon doing a complete rewatch of the show after Matt Smith’s final episode, that I finally allowed myself to view these episodes out of personal context. With retrospect. And with Russell’s era, I discovered a goofy, passionate, indulgent melodrama that’s as clumsy and nonsensical as it is engaging and moving, while with Moffat’s era, I discovered a thematically rich, witty, macabre modern fairytale that’s as sumptuous and stylish as it is full of glorious glorious soul. They were both completely different to how I’d remembered them, both a bundle of triumphs with a few falters, and yet both standing on their own feet. It was only upon rewatch that I truly discovered, and appreciated, Moffat’s high-concept, darker, more visceral, and therefore more controversial, version of the show. It had guts! it holds a punch! Without negating the beauty of triumphant storytelling to do so! And it doesn’t half carry conceptual and thematic weight! River’s diary. Amy’s glasses. Clara’s leaf. Bill’s photos. Simple objects and items that Moffat pours entire universes into. There’s something so sweeping, so rich and so compelling about the imagery filled, picture-book way Moffat writes. He’s less a screenwriter, and more a storyteller. That’s the distinction I’d make, and the distinction that, in my mind, puts him head and shoulders above Russell T. (who is a tremendously brilliant writer himself, I might add).

This totally goes without mentioning Moffat’s ever-increasing embrace of social issues. There’s no way to view River’s story as anything other than a celebration of female freedom and female agency. There’s no way to view Clara’s story as anything other than a celebration of female defiance. And there’s no way to view Amy’s story as anything other than a celebration of female courage, of female kindness. Steven Moffat champions his characters, he champions his female characters, and there’s no getting away from that. He makes them suffer, because good drama depends on that, but they have always, always stood triumphant and proud at the end of it all. That’s a track record worth cherishing, I think.

All of this stands amongst an unbowed, unbent, unbroken, pro-female doctor agenda, and a current series which has given us shameless, open, positive, political commentary on the disgraces of historical whitewashing, on racism, on slavery, on capitalism, on colonialism, on indoctrination, on militarisation, on media bias, on fake news, on heteronormativity, on sexism and on the gender binary system. Oh, and the show’s first Black Lesbian Companion to boot. When it comes down to it, Steven Moffat really is pretty great!

Gosh, this turned into something really extensive and a little bit histrionic! But I’m so beyond passionate about this wonderful era of my favourite show, and, like you, I am so beyond frustrated by the constant mischaracterisations and misreadings, (in many instances, categorically and intentionally false ones, delivered by people who haven’t even watched the show since 2013), of the work and words of the man behind it all, that I think I deserve to be a tad extravegant! 

Thanks so much again! xx


Byron: the princess cried today. I wonder why…

Albert: probably something fell in her eye

Nico: …maybe she’s sad because she misses home and is being forced to marry a stranger and you two are cold af????

Albert: of course not, how can she find us cold if we gave her a room and proper food



What could she possibly be?