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Mar 11, 2023
(8.75/10, kept at 8/10 for MAL)
Here is where, if you were on the fence about Bungo Stray Dogs S1, you’ll be rewarded for your watching efforts.
BSD S2 is a fun, exciting, and wacky action romp, with enough dark moments to keep to an edgy aesthetic and occasionally question the nature of humanity. The art, animation, and score all get an upgrade this season, while the amazing work by both seiyuu and dub actors remains at a high level. While the mysteries of this so-called mystery series remain relatively lackluster, the overall plot becomes more complex and exciting, with a three-way gang war and more. At
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the same time, if you grew to like the episodic and character-driven nature of the first season, there are still hints of that there; characters grow more complex as they’re thrown into more situations, and Atsushi really starts coming out of his angsty wet-blanket cocoon. Perhaps best of all, the off-color nature of the core characters is much reduced in this season: Dazai’s wacky suicide obsessions are hardly emphasized, and Tanizaki’s incest implications barely appear.
That said, there’s a reason why I don’t rate BSD S2 9/10. With its hands firmly in angst, comedy, mystery, thriller, supernatural action, and light philosophy, BSD is overly ambitious at best, and as with the first season, it inevitably stumbles in the pacing department. There is marked improvement from the first season here; the plot starts moving in episode 5 rather than most of the way through episode 8. Unlike the first season, though, BSD S2 spends its first episodes on an extended flashback arc with an almost entirely new cast of characters. Dazai is the only familiar face during this period, and he seems like an entirely different person because this takes place far enough in the past to warrant major character development. If you actually grew to like the characters from S1 as I did, this flashback arc is a little disappointing and hard to get into. At the same time, it is necessary to the plot overall and sheds much-needed light on Dazai’s backstory, so it does have its payoffs. I just wish it wasn’t the way the season began.
The pacing also suffers due to the ambitious mixing of genres; episodes bounce between mostly comedic one-offs and sudden forays into edgy content. As I alluded to previously, the mystery-themed parts of the story fall flat in my opinion, and function better as character deconstructions rather than actual mysteries. As with the first season, there are also some issues with repetition, though they’re much better here. We are still frequently reminded that Atsushi got kicked out of his orphanage, Kyouka killed 35 people, and Akutagawa just cannot get over his Dazai-complex. But overall, BSD S2 still has strong execution, especially given how ambitious it is.
I should also note that BSD S2 is especially enjoyable for English-speakers. The second season features a lot of American authors, such as F. Scott Fitzgerald, Mark Twain, H. P. Lovecraft, John Steinbeck, and more. For people who studied these authors in school, it’s especially hilarious to see them thrown into what is essentially a sprawling supernatural fanfiction. It’s also hilarious to say things like “Edogawa Ranpo had a battle against Edgar Allan Poe,” particularly if you’re familiar with both Japanese and American authors. But there’s still a lot of humor to be had if you’re familiar with just one of the parties.
As of writing this, with BSD S4 incomplete, I’d say that BSD S2 is the best that the anime side of the franchise has to offer. It has its flaws, but it’s still incredibly fun, and I can only be saddened if you can’t find anything to enjoy in this second season.
Reviewer’s Rating: 8
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Mar 11, 2023
(6.5/10) For an anime that has some really amazing things going for it, Bungo Stray Dogs does not get off to a great start.
Let's start with the good things. First off, Bungo Stray Dogs has a wonderfully hilarious premise for literary nerds. The mangaka created the story in the hopes that it would get people more interested in Japanese literature, and I think he's successful for the most part. At the same time, a lot of author dynamics are inverted in the anime compared to how they are in real life (for example, Atsushi is younger than Dazai in the anime, but was from the
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previous generation of writers in reality), so there's also intrigue for people who are already familiar with Japanese literature.
The second good thing I think BSD has is art and animation, particularly character design. BSD has an enormous cast, which means each character needs to look unique so a viewer can recognize them and their story without too much effort. Do I think that Dazai's bandages and Atsushi's tiger-tail belt are as on the nose as Denki Kaminari's yellow lightning-bolt hair? Yes, but those stylistic choices also make the characters memorable and unique. I also love the stylized animation with varying outline thickness to convey character emotion, and as a Studio Bones property, you can rest assured that the action scenes look great. They do not love to draw in faces on far shots to save budget, but I think that overall, that's a small price to pay.
That said, BSD S1 has two glaring faults, particularly in the opening episodes, and the first of those is pacing. For something that bills itself as an action series, there’s not much plot-driven action at first; in fact, the plot does not arguably begin until episode 8 out of 12. While episodes 9 through 12 are certainly fun and exciting, and make you leave the season on a high note with the promise of better things to come, there’s a lot to wade through to get there. Episodes 1 through (most of) 8 are slow and repetitive slice-of-life, with blatantly obvious (and somewhat boring) mysteries for something that bills itself as a mystery series. You really have to be invested in the characters to enjoy the slower, chaotically comedic, and generally plotless nature of those first episodes.
And that brings me to the other glaring fault of the BSD S1: the characters. With its large cast, BSD really only works if you become invested in the main core of characters. The problem is, the main core of characters don’t leave a good first impression. Fan-favorite Dazai is (canonically speaking) a “suicide maniac,” who constantly drops the idea of committing suicide like it’s the funniest thing in existence (the directorial choices around this are… interesting). Atsushi is adorably bright-eyed and bushy-tailed, but also an angsty wet blanket for most of the opening episodes, and a bit of a hard sell as the main protagonist. Kunikida is (until episode 6) a one-dimensional straight-man; Ranpo is (until season 2) purposefully and very successfully annoying; Yosano is (until episode 8) sexualized in a bizarrely uncomfortable way; and Tanizaki and his sister are just an blatantly and uncomfortably incestuous disaster. Fans of the franchise will tell you that the characters get better with time, and that’s true, but unless your taste runs in the right ways, they’re a really hard sell at first.
So what DOES BSD offer, given these glaring faults? All I can say is, it really gets better with time. Although the execution is clumsy and off-color at first, the premise is wonderfully creative, and the plot does get going eventually. The characters grow more loveable with time, and as the cast expands, it’s pretty much guaranteed you’ll grow like someone eventually. There are some legitimately wonderful explorations of the concepts of humanity, what it means to live, and more. The score is solid, as is the voice acting, in both sub and dub. For once, the dub matches the unhinged humor of the franchise with fervor and is legitimately hilarious at times.
Try to give BSD a chance, knowing that the later parts (both in S1 and onward) will reward you. If you don’t like it at first, but can get behind at least one character, the wacky premise, and chaotic sense of humor, keep going. But if you get to the ending of episode 6 and it’s still a major effort to get through, just drop it while you’re ahead.
Reviewer’s Rating: 6
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Jan 9, 2023
Yuusha, Yamemasu is a very solid anime, but unfortunately, it’s not what it’s implied to be on the packaging.
If you look at the character designs and the hand-wavey, vaguely-RPG-inspired fantasy world, you might think this is run-of-the-mill, isekai power-fantasy trash with a harem and a Kirito-clone lead. If you deign to read the plot description, you might think, “Oh, another gimmicky isekai—it’s from the bad guys’ POV.”
But Yuusha, Yamemasu is not really any of these things. If you go by definitions, it’s not an isekai. There are power-fantasy elements, but they’re deconstructed if anything. There’s not a real harem, and the titular hero is a
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complex character who honestly carries the anime, despite looking like a red-eyed Kirito variant. And even though the opening premise suggests this is a story from the bad guys’ POV, it’s not really about good guys or bad guys at all.
So, you might ask, what IS Yuusha, Yamemasu about? Despite a relatively slow and (purposefully) misleading start, the anime is fairly transparent about this. The opening scene has a mysterious character screaming to “live the way you want to live.” The OP’s text unpacks a similar concept with the phrase, “I don’t know why I’m here, but that’s all right with me for now.” And that’s the primal, simple core of Yuusha, Yamemasu. This is a story about living, not for grand causes, but simply because you want to, and because you have people you want to live beside. It’s about rebuilding one’s life and finding joy in the little things. There are bits of action, fun plot revelations, and fantastical elements scattered throughout, but at its core, Yuusha, Yamemasu is about simply living.
This simplicity applies to several other things in the anime beyond concept. Leo, our questionably heroic lead, is a complex character, but everyone else is a simple trope. And that’s not a bad thing: with a six-person core cast and a twelve-episode run, it’s arguably good to simplify others and make space for fleshing out the lead. More problematic is the simplification of the world and philosophy. The anime does add a twist to the archetypical, RPG-lite fantasy world, but nearly everything is explained with vague hand-waving. And unfortunately, despite having plenty of opportunity to, the anime doesn’t unpack anything about what it means to live; what is humanity; what is good or evil; if it’s all right to continue living after committing great sins; and so forth. This results in an ending arc that is conceptually on-brand but disappointing to witness, so I understand why many people don’t like it.
If Yuusha, Yamemasu did a little more with its world-building, added a little philosophical depth, and forbade run-of-the-mill isekai harem designs, I think it would be something close to a masterpiece. Unfortunately, it doesn’t have those things, and so it’s doomed to be disliked by many. Still, it does have other things going for it. The story is, for all purposes, complete at twelve episodes, and generally well foreshadowed and paced (though there is a distinctive turning point that changes everything about halfway through, and the final arc definitely has its hiccups). The score, though average, is utilized well and is effective when it needs to be. The animation is decidedly average, but not horrible by any means. The characters beside Leo are simple and one-note, but bounce off of each other well, which creates for some honestly entertaining interactions.
Yuusha, Yamemasu takes a few too many stumbles to be a masterpiece, but I think it’s been unfairly panned. If you ignore what the packaging implies it to be and take it in stride, you’ll find a simple, sweet, and heartfelt story, with a strong lead and some really good concepts. I’ll give this a 7.8/10 and round up to 8/10 for MAL.
Reviewer’s Rating: 8
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Jan 1, 2023
I’d rate this a solid 7.5/10, but I’m rounding up to an 8 because the MAL score is unfairly low.
Starting with the elephant in the room: yes, Sun and Moon’s artstyle departs from the rigid, 90’s-inspiring designs that I and so many other grew up on. Yes, it takes a while to get used to Ash’s squishy, five-year-old design, especially if you're a fan of the preceding Pokémon XY series. But I promise that Sun and Moon is really special among the Pokémon anime entries, if you’re willing to give it a shot.
First of all, Sun and Moon is by far the most “anime” of
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the Pokémon generations, which I think adds to its charm. With Ash attending school, the anime gets to dive into slice-of-life. The static setting allows the anime to flesh out a larger ensemble cast, and to great success for the most part (even the Pokémon get more personality than in some previous generations). The squishy, simplified artstyle allows Studio OLM to really shine when it comes to animations (though admittedly, they go a bit too hard on the comedic art to me, particularly in the first part of the series). The Z-move routines feel like the most anime thing to come out of Pokémon yet, and the Sentai anime references in the Ultra Guardians arcs make me crack up every time. But if Pokémon battles and Ash’s ‘never’-ending quest to be the very best are what have attracted you to the anime, those are still there. Yes, Ash feels a little more directionless in this generation, and he doesn’t battle as much as he usually does, but it’s clear that he still has all of his trainer chops, and the battles, while generally brief, are still lots of fun.
The increased character focus on a larger ensemble cast is coupled with much longer, concentrated story arcs that are rare to previous generations. This is seen most in Lillie, whose mother Lusamine runs the company that is critical to several arcs, and whose brother Gladion becomes Ash’s main rival (and whose father… well, that’s a Pokémon Journeys debacle). The connections that Lillie and her family have to Ash, as well as to each other, allow you to get really invested in them, particularly when they develop in leaps and bounds as Lillie does. It also makes the world feel large yet interconnected in a way that previous generations haven’t. Ash still gets to be a ‘chosen one,’ as he is so frequently in the movies, but he also is peripheral to some of Sun and Moon’s largest plot developments. It makes Sun and Moon feel homey and family oriented, yet still epic when it needs to be.
It’s also worth noting that Sun and Moon takes risks compared to other generations of the anime, and not just in the artstyle. Sun and Moon has character death, abduction, marriage, and a lot of other not-very-Pokémon-y things, including Ash’s first (SPOILER, but come on, you already know this) league victory. In general, Sun and Moon takes risks to present something new and exciting, and for the most part, I think those risks pay off.
Of course, Sun and Moon is far from perfect. A lot of characters don’t get nearly the amount of character development they deserve (cough, Mallow), if they get development at all (cough, Sophocles). I love the way that Sun and Moon sets the standard for recurring professor characters, but I’m pretty sure we all only love Kukui and not Samson Oak. The Ultra Guardians arcs, while great on paper and memorable for the memes, were mostly wasted opportunities. Gladion, while being an adorably edgy goodboi, doesn’t force Ash to actually develop as rivals like Paul have done in the past… and of course, the filler runs rampant. Then again, no one expects any Pokémon anime to be peak fiction, and these are all flaws that previous generations of the anime have dealt with themselves.
I honestly believe that Sun and Moon has some of the best that Pokémon anime has to offer. If you have ever liked any part of Pokémon, please give Sun and Moon a try, and PLEASE watch it in sub because the score is far better than what the dub comes up with, particularly in the emotional scenes.
Reviewer’s Rating: 8
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Dec 31, 2022
Koukyuu no Karasu isn’t exactly incredible, but it still provides the Fall 2022 season with a solid breath of fresh air.
In many ways, Koukyuu no Karasu reminds me of Production IG’s xxxHOLiC. Slice-of-life, supernatural mysteries with Asian folkloric influence and a tinge of gothic horror? Check. A main character who develops slowly but surely across the series as they struggle to find their identity and self esteem? Check. A relationship that’s cute and constantly shipped but has about 0.1% likelihood of becoming canon? Check.
Of course, xxxHOLiC and Koukyuu no Karasu differ vastly in setting, and that’s one of the latter’s greatest strengths. Koukyuu no Karasu
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is set in ancient China, which makes it stand out from the current, all-too common Western-RPG-inspired anime. The animation and art, while appearing rather low-budget, take inspiration from Chinese traditional art and are quite enchanting to look at—I could stare at that one magic peony animation forever, and that's not even mentioning the beautiful animations which take their influence from traditional puppetry. The soundtrack and sound design also take some (albeit vague) traditional influence, and really help create an immersive experience (and the OP and ED are bangers, too).
Koukyuu no Karasu also has decent pacing, in spite of its mystery-of-the-week format. Each mystery contributes more information to the story, and although there are two very clumsy exposition dumps regarding the lead character, they’re spaced well enough within the anime’s setup. Although the anime leaves off with obvious loose ends for a sequel, this first season doesn’t feel fruitless; a lot of characters show lasting development by the final episode. That said, the pacing still leaves a lot to be desired, and the plot leaves too many things unresolved to feel complete.
I would recommend everyone to watch this one, because it's a breath of fresh air that's really flown under the radar, but I know the genre makes it more difficult to get into. Still, if you’re a fan of traditional aesthetics like I am and you don’t mind some inconsistently-paced, sort-of slice-of-life, you’ll probably like Koukyuu no Karasu. There are just two things to consider before watching. One: due to setting, the characters’ names are Chinese, but the Japanese dub uses Japanese pronunciations for the names, which can cause a lot of confusion—it may be worth waiting for a Chinese dub, unless you want to memorize twice the number of names. Two: the anime plays around quite a bit with OP and ED placement, so you’ll want to watch everything all the way through, even if the ED starts playing two minutes in. Take those to heart, sit back, and enjoy some nice anime aesthetics with a decent story and solid characters behind them.
Reviewer’s Rating: 7
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Nov 17, 2022
As a story, Made in Abyss is made up of three core elements: alien but ultimately enchanting world-building, decently strong character writing, and… uncomfortable moments, be that through horror-writing, the downright gleeful torture of minors, or the somewhat alarming tendency to fetishize children. As our heroes go further down the abyss, the enchanting parts of the world give way to more and more uncomfortable moments, especially in this second season. And that’s not surprising: it’s an abyss, after all, so it should be dark. But as someone who didn’t bat an eye at the horrific scenes in the first season or the movie, I felt
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physically ill watching MULTIPLE parts of this second season (Even though I liked it overall).
This is a quality of Made in Abyss that I admire—it takes guts to create a story as viscerally uncomfortable and disturbing as this one. But, it’s also a quality that saddens me, because at this point, I can’t fully recommend the second season. If you felt uncomfortable about anything in Made in Abyss’s first season or the movie, you very well might not make it through this second season… or you might make it through but come out hating the franchise, which I definitely don’t want for you. So, only read further if you’re genuinely invested in Reg, Riko, and Nanachi’s plight, and have all the masochism and immunity to child fetishization you need to watch this second season in the first place (as I apparently do).
Now, to details. Much like the movie, the second season covers a single arc in a single location. Overall, I think the plot and pacing are impressive, especially given the fact that Riko, Reg, and Nanachi are almost never in the same location this time around. On top of that, the second season throws in a LOT of new characters, as well as a new storyline that runs in parallel thematically, but in the past chronologically. The season juggles all these elements quite well, and although I would have loved a little more time to dive into backstories and side stories, it still gets you invested and emotional when you need to be.
Unfortunately, I think the character writing suffers this season. Irumyuui, a crucial character to this season’s plot, isn’t developed much beyond “cute girl who goes through shit.” Wazukyan, while an interesting character, feels like a minor downgrade after Bondrewd. Belaf (#bestboy) holds an incredible amount of symbolic interest, but isn’t present enough for the season to explain his contradictory actions, which ultimately harms his character. Riko only rehashes character beats we already know from the first season, while Nanachi regresses, essentially reliving an arc from the first season after all the stellar development they got in the movie (At least Reg gets some interesting developments and backstory this season). But these are more nitpicks than anything; as I said before, the show still gets the job done and gets you invested and emotional when needed.
Visually, the second season is basically just as stunning as everything else the franchise has to offer. Some might be offended by the heavier use of CGI this season, but narratively, I think it works, and even emphasizes how unnatural and out-of-place certain elements of the Abyss are. The soundtrack is also excellently utilized, and builds upon the solid foundation provided by the first season. The OP is both narratively impactful and gorgeous to look at—definitely my favorite opening of the summer season. From a production standpoint, there’s nothing not to like here.
If you plan to watch the second season, I’d say binge it. It might help you get through the uncomfortable moments and gloss over the problems in character writing. It’ll also help you keep track of the (admittedly) numerous plot and character threads the season juggles. If you think you can handle extreme conceptual discomfort, binge and enjoy—I certainly did.
Reviewer’s Rating: 9
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Oct 11, 2022
I like Summertime Rendering a lot, but it’s definitely not without its flaws.
First of all, keep in mind that Summertime Rendering is adapted from a completed shounen manga. It is archetypal shounen fare: whatever promise it gives in the beginning inevitably gives way to (nail)gun-toting action, preposterous big-brain energy, and fanservice. I would say that, compared to other shounen properties I’ve consumed, the plot is ambitious and the writing solid. But if you’re looking for writing on par with something like Odd Taxi, don’t even bother looking here.
Now, compared to other big-name shounen properties like Demon Slayer, My Hero Academia, etc., Summertime Rendering is (gasp!)
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COMPLETE at 25 episodes. It also doesn’t feel like it needs a sequel, which is pretty cool. On the other hand, the ending is what I dislike most about it, and that has to do with the writing.
I honestly believe that the writing has many moments of brilliance. There’s a dramatic principle called “Chekhov's gun,” which states that if you write a gun into a scene, the gun has to go off. Summertime Rendering has a lot of Chekhov’s guns that go off… but also a lot that don’t. This is most apparent in the final arc, when a lot of the obvious foreshadowing from earlier episodes is thrown out the window in favor of taking the kiiiiind-of-foreshadowed-but-not-really route instead, presumably for shock value. (MILD SPOILER EXAMPLE: This anime literally starts off with the idea that protecting Mio is important and… yeah, that doesn’t go anywhere.) Still, I don’t think the ending’s horrible, just disappointing in that it doesn’t deliver on everything promised in earlier episodes.
The characters are pretty bland, but they get the job done. Shinpei is refreshingly intelligent for a shounen protagonist. Everyone else is pretty much a stereotype, but that’s to be expected with a cast this large and a plot this technical. I was sorely disappointed by the one-dimensionality of Ushio and the use (or lack thereof) of Mio, but I appreciated the payoff Sou had in the final arc, and I thought Hizuru would have been great if the series gave itself the time to develop her. I wanted to like Ryuunosuke and Shide, but I thought the final arc hurt them both more than helped.
In terms of production, Summertime Rendering is fine. The illustrations are pretty, and the animation gets the job done, even if the characters go off-model at times. The voice acting is good; I enjoyed Hikasa Yoko’s performance in particular. I thought the anime was tragically underscored, but what OSTs did exist I thought were fine. And I personally didn’t care for the first OP/ED, but found the second OP/ED quite addictive. The visual pacing within episodes was awkward, sometimes dwelling on exposition dumps forever and sometimes blasting through important points without a care in the world, but everything in general was fine.
With all the mixed-to-bad reactions I’ve laid out, you might wonder why I can still rate Summertime Rendering relatively high. Honestly, I thought watching it was really enjoyable. Even though the writing became contrived, it was still fun to rewatch episodes and theorize what might happen next. The action was fun, and the plot, despite its flaws, was fun.
As I wrote in the beginning, Summertime Rendering is not the greatest example of writing. It tries to sell itself as intelligent, and rightfully so at times, but its plot is too ambitious and geared toward the shounen demographic to really deliver. Still, it’s a fun summer romp, and the fact that it’s a short but complete, action-packed addition to the shounen canon is certainly not unwelcome.
Reviewer’s Rating: 8
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Aug 5, 2022
I don’t think Spy x Family is the greatest thing since sliced bread, but still, there’s a lot to like about it.
There are a lot of good things in Spy x Family. Naturally there’s the “spy” part, complete with wacky action scenes, a combination of smooth badassery and beyond farcical comedy, and a bevy of amusing Bond references. There’s also the “family” part, complete with equal parts of drama, heart-warming slice-of-life, and comedy. There are very pretty-looking character designs if that’s your thing, and there are vomit-inducingly cute designs, too, if that’s more up your alley. A lot of the animation is very good, and
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if you like jazz, the score is an absolute banger. The premise itself promises lots of tension and hilarity, and the characters are all cleverly set up to be perfect foils to each other. For twelve episodes, the show is packed with a lot of things, to the point that I suspect any watcher could walk away with at least ONE thing they liked about it.
Yet, while I find plenty of things to like about Spy x Family, I also find few things to love about it. This, I think, is mostly due to the premise. Spy x Family’s story promises grand amounts of tension because of inherent temporality. How long until the war breaks out? When is everyone going to find out about each other’s true identities? Not for a very, VERY long time is what it feels like. This undermines the story’s tension, because the drama seems like it’s light years away and not getting any closer. It also undermines the characters. Yes, it’s fun to see Loid and Yor interact with each other, but am I really supposed to believe that one of the world’s top spies can’t figure out his own wife is an assassin, even when it’s obvious she doesn’t have a standard skillset? And am I really supposed to believe that Yor can’t think about anything except how to be a “normal” wife or mother? There are two things happening here: the characters become one-note because they are only faced with the same stimuli over and over again, and the characters become inconsistent within the world’s logic (Loid immediately figuring out Yor’s brother while still never being able to figure out Yor herself comes to mind). And these things are fine, especially if you can just sit and laugh at the admittedly funny moments, but personally, they prevent me from truly loving what’s happening on the screen.
Another thing for me is that I don’t like Anya. I know this will get me crucified by the community, but I only find her compelling about 20% of the time. Yes, she’s cute, and yes, her psychic powers are the source of a lot of the comedy, but her behaviors make me question the story’s internal logic more than I’d like to. Why can’t she throw a ball but CAN slap a kid her size off their feet into a wall? Why can’t she be in crowds except when she’s in school or at the super crowded aquarium? Why can’t Loid figure out there’s something veeery supernatural about his daughter? (Maybe I have too much faith in Loid.)
As a non-manga reader, my biggest concern is that come the second season, the status quo will continue and these problems will just get worse. The characters and internal world logic will remain inconsistent, and the promise of everything falling apart when the cat finally escapes the bag will feel further away than ever. But, that’s okay—it just means the show is better enjoyed when you turn off your brain and stop questioning things. Spy x Family definitely has some great moments, and it also presents a refreshing combination of tropes. Also, there’s not a single teenage character in sight! That makes for a refreshing change of pace.
Watch Spy x Family if you want to spend some time turning off your brain while laughing at a screen. Just… don’t think too hard about it. It’s better enjoyed that way.
Reviewer’s Rating: 7
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Feb 27, 2022
I recommend everyone to watch the OP for this anime blind, without context. If the OP's music and visuals inexplicably move you, give the whole anime a shot. If they don’t, your efforts are better spent elsewhere.
That's not to say that Heike Monogatari is bad: quite the opposite. Although the art style is not typical to modern anime, both it and the animation are jaw-droppingly gorgeous. Director Naoko Yamada knows exactly how to frame shots, as well as how to cut to and away from drama to leave the maximum emotional impact. What’s more, the story’s themes are universal—inevitability, suffering, and loss—and it explores these
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themes in an incredibly beautiful, reserved yet poignant way.
But Heike Monogatari is not for the faint of heart, for several reasons. The inevitable tragedy woven into the story makes viewing a draining experience. Also, due to the story’s origins as a Japanese epic and political drama, there are a lot (and I mean a LOT) of similar-sounding names. I had to regularly check the Wikipedia articles to make sure I was correctly differentiating between Kiyomori, Koremori, Sukemori, Shigemori, and tens of others. It also took me forever to realize that “Heike” and “Taira” were synonymous for the purposes of the story, and knowing that earlier would have saved me a lot of confusion.
The writing is also not without flaws, at least in my opinion. With so many characters and most of the scenes being dialogue-heavy, it’s hard to get a feel for what informs each person’s decisions. The pacing is erratic, and the story’s sudden time shifts feel awkward because the main character doesn’t age (except, we see snippets of her in the future when she’s clearly older, so… ??). There’s also a plot inconsistency in which the main character (who can see the future), sees the future of one of the other characters, only that future never comes to be. There’s a possible explanation that the main character actively makes it so the future is changed, but then, that undermines the story’s focus on inevitability.
I also want to address something that I’ve seen some viewers complain about, and that is the lack of an active protagonist. It’s true that the main character doesn’t really DO anything until the very end, and I understand if people dislike the anime for that reason. For me personally, though, I wouldn’t have it any other way, because the main character’s passivity makes the sense of helplessness in the face of the story much more tangible. I think the story weakens a bit when she has her personal arc at the end of the show; it feels so unrelated to the Heike tale. But that’s a matter of personal preference.
One more thing: I personally think the sound is a mixed bag. I love both the OP and ED, and I adore the incorporation of more traditional Japanese sounds and instruments. The voice cast is teeming with titans of the industry like Aoi Yuuki and Takahiro Sakurai, so it’s hard to go wrong. But while I loved Kensuke Ushio’s score for Koe no Katachi, I can’t say the same for his work here. For one, it feels derivative; a lot of soundtracks from Koe no Katachi could probably be inserted into Heike Monogatari with only a few noticing. More importantly, though, I don’t think it fits the tone of the anime. Ushio’s signature electronic sound is fine for contemporary dramas, but I don’t feel it has the same impact for an ancient Japanese epic whose art is ripped straight from a traditional painting.
Heike Monogatari is, without a doubt, flawed. But, perhaps its flaws are what make it beautiful. At the very least, they provide for an emotional, unforgettable experience that I will definitely revisit. While I think Heike Monogatari makes a few too many mistakes to be considered a masterpiece, those who are willing to watch it carefully and open-mindedly will definitely be rewarded.
Reviewer’s Rating: 8
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Feb 13, 2022
I read Demon Slayer in manga format while it was still being published, and it’s always struck me as a story with a lot of heart but not much head. I love how heartfelt it is with its attention to empathy and sibling love, but I’m less enthusiastic about its random pacing, ham-handed writing, and tone-deaf comedic choices. It’s a sweet story with some beautifully hard-hitting moments, but critically, it’s average at best.
As far as I’m concerned, Ufotable has been doing a great job of adapting and adding to what the manga offered. Some well-placed filler helps smooth out the pacing, and of course, the
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gorgeous animation is a major upgrade from anything the manga had to offer. Still, it’s impossible for a loyal adaptation like this one to completely fix the critical shortcomings of the story. The dialogue is still laughably ham-handed, the pacing is still pretty random, and the funny moments amidst gritty death and gore still feel as absolutely out of place as they felt in the manga. Also, the plot-armor is atrocious in this arc: possibly the worst it is in the entire story. Don’t keep track of how many wounds the kids sustain here; if you do, your suspension of disbelief will crack faster than eggshells.
That said, Yuukaku-hen is conceptually one of my favorite arcs in Demon Slayer. I love the Entertainment District setting and I giggle at the cross-dressing premise. I love the parallels between Tanjiro and Nezuko and the demons who play the villains of this arc, and I also love the parallels between the three main boys and Uzui’s three wives. I even like how painfully hopeless the final battle feels at times, and I think the brother-sister themes of this arc hit very hard. Add to that some gorgeous visuals, great voice-acting, and a pretty solid score (with the exception of the lullaby, which I found extremely underwhelming), and you get Yuukaku-hen: eleven episodes that are very flawed but still brimming with good moments and heart.
No part of Demon Slayer is a critical masterpiece, and Yuukaku-hen is no exception. But if you’re willing to look past the storytelling shortcomings and take the beautiful content in stride, you’re in for a treat.
Reviewer’s Rating: 7
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