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And that is another thing which makes the episode so remarkable: the caliber of the vocals in the songs. Given that she sings the opener and contributes to singing the closer, everyone knew that Aya Hirano could sing, so the real discovery is that her English counterpart Wendee Lee, who has mostly been holding her own in the role, can actually match her on the songs, too. (Anyone who does not believe this should flip back and forth between the dubs during the performances and compare. Even diehard purists may not notice a difference in quality.) Crispin Freeman still masters the role of Kyon like he was born for it, while other roles will still come down to normal sub-dub preferences for most viewers.
On the other hand, fans of the franchise may be pleased to know that the new series gets right down to business without rehashing what has come before. Unfortunately, whether you care a whit about that business is another matter entirely. Never mind that the target audience here is elementary school girls. Even taking this inconvenient truth into account, the plot of Kamichama Karin -chu- remains, to put it bluntly, exceptionally derivative and dumb. Purposefully so. The whole conceit about a future child of the heroine's materializing the past to warn the cast of present day threats has been ripped whole cloth from Sailor Moon. Yet after the three “Noble Gods” have been found and the characters' brief spell as kindergartners is over, the threat of the “Seeds of Chaos” is inexplicably forgotten, dropping so quickly off the face of the page that you will be reeling. Instead, the final third of volume one focuses on a bout of insipid relationship angst between Karin and Kazune.
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