下着雨的偏僻的麻将馆中，亚洲出现了一个由于无事可做而沉溺于麻将的少年。无论是谁，亚洲看到他那雪白的头发，都会情不自禁的想象他至今走过的人生。少年的名字叫akagi……作者以麻雀贯穿整部动画加之阴暗的背景和大量的心里描写竟然能够想像出那么多不符合常理的事情来！可想而知作者对这部动漫付出了多少心血！一部关于麻雀的动漫作品,作者竟然能计算出了那么多东西！实在难能可贵！人物的造型设计是个性了点但是这一点也不形象整部动漫的可看性！而这恰恰是一种新的动漫风格,使整部动画更加的”写实”化了．
回复 :这是一个魔女与人类共存的世界，为了保证魔女的身份不被揭穿，被人类发现了真实身份的魔女都会变成魔女青蛙，唯有另一个拥有正式身份的魔女才能够解开魔法。一次偶然中，一直梦想者能够成为魔女的少女春风Doremi（千叶千惠巳 配音）撞破了魔女莉卡的身份，无奈之下，莉卡只得将春风收为见习魔女。春风必须经历漫长而艰苦的修炼，通过魔女的考试才能够正式获得魔女资格。在此之后，成熟稳重，性格文静的藤原羽月（秋谷智子 配音），精明强干活泼好动的妹尾爱子（松冈由贵 配音），傲娇跋扈但内心善良的濑川音符（宍戸留美 配音）春风的妹妹春风泡泡（大谷育江 配音）等人都因发现了春风的身份而接连成为了见习魔女。随着时间的流逝，对于女孩们来说，通过魔女考试反而成为了次要目的，最重要的是，一定要利用各自的魔法能力让人们获得幸福。
白玉昆
回复 :对任何人来说，遇到真爱可能都不容易。对于处在自闭症谱系中的年轻人来说，探索难以捉摸的约会世界就更难了。
乌仁娜
回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
