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“Otaku” is a term that I’ve labeled myself with in the past, when I’d eagerly watch new episodes of seasonal anime that come out weekly as a getaway from hours of tedious class lectures. Fully professing as one at the peak of my teenage years, I rejected most of the reality around me and got absorbed at the 2D world in front of my laptop screen. I had friends who would identify as one and we’d chatter away during school breaks about the latest developments in the anime world. I’d start obsessing over the latest doujins and video games which caused me to neglect real life priorities. This hobby persisted up until college, where I slowly lost interest due to academic stress. I’d still come back to its comfort frequently but it’s often short-lived. Now that I’m at the end of my college days, Genshiken came at the right time and reminded me that the days I’ve spent living the otaku life wasn’t time wasted.

One striking aspect of the manga is that it holds well a sense of realism. The Genshiken members act like what an otaku would act like in real life. They are hopeless and degenerate, but the story shows the embracement of it rather than shaming it. It is self-aware about the negative perceptions about otakus, but it addresses them in a mature manner. The eccentricities are present, but they are not overbearing to the point of being annoying. Rather, the manga uses it to its advantage to present a healthy group dynamic among the cast which results to very enjoyable and hilarious moments. The manga is split into two generations: the old and the new generation.

The old Genshiken members include the enthusiastic Madarame, the timid Sasahara, the cosplay otaku Tanaka, the artist Kugayama, the normal Kasukabe, the BL-loving Ohno, the flawless Kousaka, and the otaku-hating Oguie. It’s worth noting that the manga doesn’t have an actual main character, even though we are fooled to believe that it’s Sasahara at the start of the story. What I really loved with this generation is that it manages to develop and flesh out almost all its characters. The narrative shows how the Genshiken members warm up to each other over time, even leading to romantic developments. Every activity that they bond over with builds up their friendship over time, leading to a fulfilling closure as they separate paths in the future.

The new cast for Genshiken Nidaime sees most of the old members graduating and some of the side characters in the previous generation gaining more relevance to the story. The new addition to the mix includes the crossdresser Hato and the fujoshis Yoshitaka and Yajima. There’s an observable shift in the tone of the series, as most of the gags revolve around BL. It’s also used to progress the plot as there are some immense romantic developments that are handled in a way that is not forced. It might alienate the fans of the old Genshiken gang but it’s a refreshing way to continue the story. What I also like about the reserialization of the manga is that the mangaka came back with a really improved artwork.

There are some issues I have with the manga but most of them are just nitpicks. One of which is that we didn’t see much of the campus life outside the clubroom. It could’ve help put that realism up a notch. Another one is that it derails to certain romance subplots, detours with no conclusion, and then the manga picks it up again later. There are also some characters that could’ve used more of the spotlight to make the readers more invested in them. But then again, it could complicate the plot that was already at the brink of collapsing near the end, only to be saved by a well-executed conclusion.

Overall, this is a must read for anyone who has the slightest idea what it means to be an “otaku”. It’s a well-written story that throws in typical otaku clichés and stereotypes and makes it an enjoyable and emotional reading experience. If Welcome to the NHK displays the dark side of being an otaku, Genshiken shows the fun side of it while not neglecting its drawbacks. Don’t miss out on this amazing manga.

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Bambino is a frustrating reading experience that had me feeling all sorts of emotions. I don’t mean that in a negative way. You see, it’s always a tendency that success is always the objective of the story when it revolves around an empowered character. They have their own share of struggles, but they immediately overcome it through the power of plot convenience. Bambino, however, is quite different.

The road to success is not a smooth route that can be achieved by just having talent. The manga attempts to slap the harsh truth to our main character Ban Shogo. He is not as great as he thinks he is. He may cook good food, but can he maintain that quality when put under constant pressure? It becomes apparent that he is just a naïve amateur who thinks he can be like one of those overpowered shounen MCs that can take down any opponent because he is the rising star of the story. While this realization comes as a gut punch, he slowly accepts this reality and swallows his own pride, proceeding to improve the weaknesses that he never realized before.

This is where most of my personal frustrations materialize. Reading the early chapters made me cringe a lot due to the endless streams of embarrassment the main character receives every chapter. I initially thought this would be a laid-back comfy cooking manga with a highly determined main character, but boy that first impression was wrong. This is not Shokugeki no Soma where you are a newcomer chef who thinks he is hot stuff and still manages to dominate because who doesn’t love seeing underdogs triumph? Bambino, on the other hand, knows how to put its main character in his place and let him develop and mature by letting him taste hardship. Every time the main character feels like giving up, I relate to that. Because I understand what it feels like thinking you know everything but then you find out you still have a long way to go. You then harden your resolve for self-betterment and fight against the things that are holding you down.

An aspect of the story that I appreciate very much is that it lets the main character go through the various sectors of the restaurant. Every time he is transferred to another work station, it would come as a shock to him to adjust. But with these difficulties that are placed on him, he can gain more experience and see cooking in different perspectives. Cooking is not just tossing a bunch of ingredients in a fry pan; it’s a delicate form of art that requires both passion and skill. Also, it also gives you a realization that cooking is not everything. Bambino teaches us that serving great food also requires great service. This includes from how you serve your customers to how you leave a strong impression that goes beyond the food. It’s not only about the ones making the food, it’s also about those who receives the food.

While the initial story puts Ban in a series of challenges that tests his determination, it slightly devolves later into a set of predicaments that you can predict that he will overcome. The stakes are still there, but you no longer feel that sense of uncertainty of whether you get a pass or not. It could be due to how he has accumulated experience over time that tempered his character, but I find myself relaxing that he can hurdle through any obstacles thrown at him with guarantee. To be honest, this is the only issue that’s holding me back on giving this manga the 10/10 that I was eager to give early on. It’s certainly a personal nitpick of mine, but I want to give this review a subjective edge to it.

This review wouldn’t be complete if I don’t at least say something about the art. The centerpiece of this manga is not really the food as it’s just a medium of how the story progresses. However, I can see the effort put into drawing them into gorgeous and savory meals. They don’t feel too perfect, but they look like a labor of love. The character designs are alright, albeit I get the impression that they are inspired from the shounen demographic despite the manga being a seinen. The paneling is impressive, I had no difficulty at all devouring every page of every chapter. They seem to flow very efficiently although very chaotic at times, just like the atmosphere of a cucina.

Despite only being a prequel with no conclusion yet, Bambino is a fantastic yet underrated manga that everyone should read. While I do also love the more popular cooking titles like Shokugeki no Soma, Bambino deserves the same amount of attention. Not only it’s more realistic, but it has actual development going on. It might only stick with Italian cuisine but fusion with other cuisines happen from time to time. I still feel like it hasn’t used up all its potential and I’m excited to see what happens next with the sequel. The question is, when the hell is it going to be fully scanlated? Give this the acclaim it deserves, and we might see that fulfilling conclusion.

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I’ve long admired Ashinano Hitoshi for his slice-of-life masterpiece Yokohama Kaidashi Kikou and his landscape eye candy Kabu no Isaki. His minimalistic art style won me over with his expressive strokes which gives a lighthearted aesthetic whenever I read his works. The relaxed pacing, the simple yet insightful characters, the calm world-building, this is evident in all his manga. While this includes Kotonoba Drive, it pales in comparison to his previous works.

I can’t help but feel disappointed that this manga was short-lived. Maybe if it was extended to another 50 chapters or so, it could have fleshed out things better. The characterization is fairly weak, leaving an unmemorable cast of characters that I could’ve been emotionally invested with. The world-building is there, but it still feels very mysterious and limited. It’s like getting a vacation in the countryside that ended prematurely. There were more places to visit, more people to get acquainted with, more mysteries to explore, more culture to experience, and so on. It didn’t really feel fulfilling at all.

Still, the manga still has its good parts. I like that it’s more surrealistic than the mangaka’s previous works. The 5-minute phenomenon the main character is experiencing daily is never given much justice, but it’s a unique thing to drive the story. I just wished I get to see more interesting variations of it that may end up playing an important role if the story was developed even further.

If you haven’t read any of the author’s previous works, then I wholeheartedly suggest giving this a read. It’s atmospheric, light-hearted, easy to read, simple: everything that makes reading a slice-of-life manga a refreshing experience. But if you feel unsatisfied like me, then I encourage you to read the author’s other works which I feel is greatly superior than this.

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In the past, I've encountered stories that attempt to be a slice-of-life setting about otherworldly beings or bizarre phenomenon. One way to assert the story's quality is to check if it establishes a setting to which it caters the outside element well enough to be normalized. If it does inject something you don't expect to be found in an everyday scenario, it must justify its existence by presenting a predicament that becomes the central focus of the story. Kanojo wa Rokurokubi falls short of exploring its eccentricities, and it has to do with how it unfolds its story.

The manga begins with an impression of being a sweet slice-of-life story about a long-necked girl Natsuki and her blossoming romance with her childhood friend Itsuki. The supernatural element’s presence is there, though it’s usually restricted to Natsuki stretching her neck for various comedic efforts. The first few chapters are laid-back and comfy, with the occasional tense moments, which I enjoy. However, it developed some issues when it shifts to a direction of being a story about the dichotomy of humans and youkai. This could’ve been incorporated in the early stages of the story by being a heartwarming story about a youkai’s progressive acceptance of the human world. Think about stories like Demi-chan wa Kataritai or Kobayashi-san Chi no Maid Dragon where they manage to address the dichotomy issue while simultaneously be a relaxing and fun slice-of-life. For the case of Kanojo wa Rokurokubi, it fails to succeed in doing this which is why it feels so unfulfilled.

On a more positive note, I enjoy Natsuki's interaction with Itsuki. Their chemistry is something, despite that they fight from time to time. The slice-of-life element is there, albeit it gets drowned out by the forced drama that came out of nowhere in the second half. I also enjoy the character designs, as I find them quite charming and pleasant to look at. All in all, it's a manga that is not entirely without merit. Just because the manga fails to do something, doesn't mean it has no redeeming qualities. It indeed showcased a lot of potential, only for it to come to waste by ending prematurely. I'd still recommend this, but I've seen other slice-of-life works that have done better than this.

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After getting a general idea of the story, I was kind of hesitant to continue reading. The fact that it tolerates irresponsible parenting with an enthusiastic cute little girl who is okay with it makes me slightly angry. The manga gets most things right when crafting a lighthearted slice-of-life, but the premise just makes me uncomfortable. Ultimately, I decided to keep reading in hopes of it getting better. Surprisingly it did, but there are a lot of things left much to be desired in the story.

At the start, it planned to go episodic with no sense of development at all. The dad is a hopeless otaku who lets her daughter run the shop. All of the chapters build on this premise, and the way it goes around it in slight deviations is to be expected from the type of genre the manga is in. It's cute, it's heartwarming, but most of all it leaves a feeling of pity. It becomes evident that the girl has some serious struggles between peers, family, and the shop itself. She is refreshingly mature for her age but still has her childish traits intact in which she learns how to deal with naturally just like any other kid. However, there is an effort story-wise in making the overall situation better especially when the dad starts acting like one.

The story does reach a happy ending, but I can't help but feel that it happened too fast for everything to settle down. Given that this is only less than 20 chapters, I expected a bit more from it. It leaves certain subplots half-baked like the one about the mangaka or the one about the delivery girl. It's such a shame really that it started to discover its potential halfway but never managed to utilize it fully. Overall, it's a decent slice-of-life manga that initially tries to reel you in with the pitiful situation of the little girl but eventually evolves from it into a somewhat mature yet partially realized story.

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Romance is a genre that has been done to death in anime. Some try to liven things up by going for a romance-comedy approach that often falls short of balancing between the two. Some try to go for moody serious drama that sometimes take itself too seriously by sprinkling dark elements into the mix resulting into a mess. Whatever various scenarios these shows present, what they all have in common is that they have always strive to show something interesting to its viewers beyond the romance, which can result to negligence of the potential development from it.

It has always bothered me, as a person who has encountered a lot of romance fiction, that stories revolving between two pairings are often beaten around the bush up until the very end. Not that it's automatically considered a bad thing since I wouldn’t mind it if there was a sense of progression in terms of character development, but the potential of a love in bloom is often ignored and then the story tries to come back to it with a very rushed resolution that can leave an unsatisfying taste. Of course, I’m talking about shows that don’t have romance as the only thing going for it since one that is purely about romance is a rarity. But what if there comes a show that puts all of its strengths on romance alone? This is where Tsuki ga Kirei shines through as a simple yet memorable tale of young love.

One thing that makes this show stand out is that the romantic relationship is established midway and the rest of the episodes detail their life as a couple. Even though we had shows like Lovely Complex and Ore Monogatari in the past, Tsuki ga Kirei beats them in terms of subtleness and intimacy. It wants to be mature despite the dullness it can accumulate from stripping away so many elements that make up a typical modern school romance. It wants to show the naivety and stubbornness that first love brings and how it basically screams the laid-back yet youthful lifestyle that most of the older viewers can relate to.

Aside from the various skits presented at the end of most episodes, there is no actual comedy to be found in the show. It still maintains to be lighthearted despite that, as it never fails to leave a warm fuzzy feeling within. The chemistry between Azumi and Akane is beautiful, they are two socially awkward teenagers and it’s such a delight to see the two of them dealing with their feelings. Whenever they interact, their speech is limited but their facial expressions and body language brings up the message even clearer. There might be the occasional cliché moment here and there, but their generated reactions to such cases feel sincere enough to be not seemingly forced.

While the show brings its romance to the forefront, it still manages to provide glimpses of things outside of it. Azumi is an aspiring writer and Akane is a track-and-field member and the story details their struggles of compensating between priorities. If only the show was extended for another cour, it would be nice to see the story expound on this. It is a shortcoming that I admit prevents me from giving this show a greater score, but I still think it still sufficiently manages to explore that aspect of the story well enough.

On the more technical side of things, the animation is quite average. It can be mediocre at times, especially when crowds of CGI people are often used in the background. However, it gives more emphasis on individual movement towards relevant characters in the scene. One certain scene that stuck out the most is the one where Azumi is doing the festival dance with such eccentric animation but weirdly hypnotizing with its frequent thrusts and fluid maneuvers. The character design is quite good, nothing flashy but it’s pretty simple. The soundtrack is amazing and it helps set the mood and elevate emotional buildup at certain scenes. I can’t imagine the show without its piano-driven OST to be honest, as the show would’ve been too dull for my liking without it.

For a show that is about love, it might’ve been too optimistic. There were attempts to complicate the romance with a third party, but it got resolved swiftly. School matters were also used as a deciding factor for the couple’s relationship, but they still remained victorious in the end. It has its highs and lows and the story went ahead for a positive fulfilling conclusion. It might be too plain and basic for other people, but it feels very genuine enough to work as a compelling school romance. It might’ve been paced too slowly for anything interesting to happen every minute, but it’s that careful approach towards romance that creates a feeling of emotional tension. Maybe a straightforward story about love and its dealings like Tsuki ga Kirei can possibly save and revitalize the romance genre, that keeping things simple can be effective as long as it has a sense of direction leading to a realization that brings a profound emotional impact. Who knows, but I have still hope that romances like this will continue to exist in the future.

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Old Boy had an interesting start. With the premise that it offers, it’s easy to get absorbed in its story. The mystery it presents early on is done well enough to be gripping. Violence is promised, with its very crisp action sequences. The execution is good with its captivating paneling of scenes. The art is well done, albeit character designs could’ve been done better. Yet, it started to fall apart halfway with its villain growing ever present by the chapter.

One main problem it has is pacing. When it comes to mysteries, it’s often natural for a slow yet steady buildup that is heightened by cliffhangers. Old Boy assures its readers with a payoff, but the story can only be dragged so much to be remotely engaging. It worked well for the first 20 chapters or so, but then you will realize that it becomes a repetitive cat-and-mouse scenario. It also attempts to be complex by setting the plot into a psychological maze, but the exposition is so lackluster. A lot of vital and even unnecessary info is revealed to the point that it’s considered spoon feeding. It could’ve been done more subtly, as it’s a strong asset in terms of exploring the mystery.

Another point is that the villain is not even that interesting. His motives felt weak and unjustified as he obnoxiously insists that it’s something very life-changing. His background isn’t properly explored well despite being the story’s main key to solving the mystery. His interaction with the cast is like of Friend’s in 20th Century Boys, only that manga did way better in terms of characterization and layering plot points. He even reveals himself way too early into the story, losing most of the essence of the mystery. It felt too lazy because the main character was being too slow in remembering things. Let’s not forget their past teacher who became a plot device in order to speed things up. Just as the story reaches the finale, the conclusion of the entire “Remember your past” detective game was so unfulfilling. At that point, almost everything that what made it so interesting in the first place was almost gone.

Overall I think it’s still a recommendable manga to a degree since it pulls of that noir vibe well. If you’re looking for a well-developed mystery game that has enough suspense to keep you going, look somewhere else. A disappointing read, but there is still merit from the reading experience. It’s an example of a well-executed manga that can still turn overwhelmingly boring when the plot leaves more to be desired.

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Koe no Katachi: a story about a boy redeeming himself from a mistake that has forever changed his life.

At one point in our lives, we’ve been part of the bullying experience. It’s an issue that has continued to thrive despite efforts of eradicating it in social institutions especially school. Schools often have the most cases of bullying because kids are susceptible to doing things with little regard to punishment. They are also easily influenced by their surroundings so when one person decides to make fun of someone, everyone else is quick to ride along with it. The bully’s reasoning can be simple and varies from thinking someone is weird to doing it on a whim due to lack of anything else interesting to do. Some would see it as a mischievous harmless act that could be resolved with proper disciplinary measures, yet it has been observed that it can be serious enough to do lasting damage, physically and psychologically.

But what if the bully becomes the bullied? It’s a scenario that can happen by putting all the blame on the ringleader, serving as the scapegoat, when the problem escalates into a big issue that involves higher authority. Imagine when suddenly everyone turns their backs on you, and have to accept full responsibility. Then it gets to a point when you become everyone’s target, calling it karma and such. It’s easier for others to judge and point fingers when backed into a corner rather than owning up to personal wrongdoings because that is human nature.

The story of Koe no Katachi perfectly encapsulates that scenario. It starts with the main character Ishida Shoyo reflecting back to the times when he was still a kid who never knew how bad the consequence of bullying was. Throughout his lonely adolescence, he tries to change in order to make up for the things he did in the past. But was it all worth it in the end? He finally saved enough money to fix the financial problem he had created. He decided to meet Nishimiya Shouko, the deaf girl she used to bully, once more to formally apologize. All of these were efforts he made while contemplating suicide. Maybe he thought that this way, he could atone for his sins. However, he hesitated.

The present setting of the story occurs during spring, the time of the year people associate with new beginnings. This can be tied to an implication that Ishida believes he doesn’t deserve to start a new life, hence his plans for ending it all during this period. But perhaps he started to look at a different perspective after his encounter with Nishimiya again. Instead of taking his feelings of regret to the grave, he attempts to make amends with her. This is where his tale towards redemption starts.

One of its main strengths is that it doesn’t rely on romance to tell an emotionally impactful story. While the movie drops several hints at romance, especially at one certain scene, it’s at a relatively superficial level. You could argue that the reason why it was easy for Ishida and Nishimiya to be on good terms is because they have romantic feelings for each other, but I disagree. Instead of feelings of love, they are connected by their desire to know more about each other to make up for the times when they couldn’t. Ishida could’ve brushed off the whole childhood incident but realized how bad the damage was. He could’ve resented Nishimiya for it, but he didn’t. Same thing applies vice versa. Rather than doing the blame game just like anyone else, they admit to their flaws and do something about it. Making them a couple can sound like a good idea, but it defeats the story’s objective

The animation and art is very beautiful which is kind of expected from KyoAni. The soundtrack is especially amazing which can range from minimalistic, piano-driven pieces to warm synth-based ones that emulate a lighthearted feeling. They are carefully placed within scenes of the movie that they aid in making scene transitions as natural as possible to maintain that sense of immersion. It’s also surprising to see The Who’s My Generation used in the opening sequence of the movie. The lyrics allude to preconceptions towards young people but even without that implication, it’s still a kickass song that gives a youthful vibe.

Up until this point, I’ve never drew a comparison with its manga even though I’m a fan of it. However, there is one issue I’d like to raise that requires me to talk about the manga. Now I understand that not everything from the manga can be included into the 2-hour movie adaptation, but the fleshing out of the characters is done in a way that leaves much to be desired. Ishida’s transition from an elementary class bully turned victim to a timid high school student was deliberately shortened. The movie compensates it with his internal monologues, occasional flashbacks, and even subtle symbolisms at times. However, it would’ve made his sincere aura more believable when it’s supported with a backstory that extends beyond the bullying incident. This also applies with Nishimiya and her family. We’re given little information on her life situation as where the manga gave insight to her family history. Even the side characters like Ueno, Kawai, Sahara, Mashiba, and Nagatsuka were given less emphasis in the overall story. I understand that the movie is going for a “show, don’t tell” approach in its storytelling, but it could’ve done the characters more justice in order to really know them.

In exchange for that shortcoming, the pacing of the story is done really well without feeling too rushed. I was anxious when I heard the news that the anime adaptation would be a movie instead of a series but it actually turned well because of the proper pacing. Then again, certain sections of the story did not make it to the adaptation but it’s not that bothersome. What matters is that it takes the important parts of the storyline and makes the entire thing flow without any trouble. It is a wise decision to turn the events that happened back in elementary school into one lengthy flashback in a way that’s not disruptive. It focuses on being story-driven with a well-delivered payoff.

For my final thoughts, I think it’s a really beautiful movie. Not only in visuals, but also in how it tells a story with a beautiful realization. It grabs your attention by the premise, sufficiently paces the story well, and brings an impressive conclusion. It’s something that does leave quite the emotional impact while justifying the circumstances that lead up to it. If you think its main focus is about victimization of disabled people, glorification of mental health, or a one huge “Be nice to everyone” moral story, try to reconsider your thoughts. Koe no Katachi is more than that. It’s a conscious take on what it means to forgive others and one’s self. With that, I consider it as one of the most moving stories I’ve ever experienced and it’s something that I’ll recommend to everyone with no hesitation.

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Kuzu no Honkai is a show that caught my interest by reading its plot synopsis. However when I actually started watching it, I didn’t expect it to be sexually explicit. From just the first episode, I was already welcomed by scenes that just flash that “lewd” sign across the screen. Now, this isn’t the first time I’ve encountered a show that uses this kind of approach in telling a romance story. However, this is my first time seeing a show use a more dark and perverse perspective of exploring love without being labeled as a hentai. It shows a lot of promise to become an actual mature romance story that is unafraid to touch taboo topics. Yet, it turned into a mess that is beyond saving.

Let’s start with how the two main character’s relationship started. Mugi is in love with his teacher Akane and likewise, Hanabi is in love with her brother-figure Narumi who is also a teacher. Now, the story presents both Mugi and Hanabi’s situation as unrequited love. Since they feel conflicted with their feelings towards their love interest, they decide to form a relationship instead out of frustration. There’s a feeling of void that they want to fill by being in each other’s company and that’s an interesting coping mechanism that I would’ve liked the show to expound further on. Mugi attempts to imagine Hanabi as Akane and also Hanabi attempts to imagine Mugi as Narumi. Seeing this idea quite baffled me at first, as how in the world will they ever achieve that when they’ve never experienced embracing the warmth of their special someone in the first place. However, I interpret this is merely a childish wishful thinking and it’s a shame that the show only leaves it that way and never attempts to change that mindset.

As the story progressed, things got more complicated. It was no longer only about the couple’s dealings of sorting out their feelings by engaging in very sensual mouth play. You thought they were actually having sex? Nope, it got teased so much to a point that it became rather distasteful. So much for the friends with benefits type of story it was going for at the beginning.

The story started to introduce several subplots that couldn’t be justified within twelve episodes. Akane is not what people think she is under that innocent aura and the show gives her a bit of time under the spotlight, unveiling who she really is. There are also hints of Narumi having feelings for her and the show also dedicates time on how they interact with each other, with a possible sense of development to arise from it. It would’ve been fine if the story stopped at that point in introducing new things to the story, but it wasn’t satisfied and proceeds to introduce more characters that struggle to be relevant within narrative. Here comes Hanabi’s school friend Sanae and Mugi’s childhood friend Moca who both have romantic feelings with their respective friend.

All of the sudden, the show became about a love web that lost focus on what it really wants to do with its story. Character decisions started to become more irrational as I kept scratching my head what in the hell do they want to achieve. What happened to that interesting premise at the beginning? It slowly sank into a boiling pot of smut ideas, only to be rendered indistinguishable among the rest.

Another observation I’ve made that turned into something I can’t ignore is that it has too much internal monologues. Yes, they help in expressing thoughts of characters when all actions fail but there must be a limit to how much you can tell without being excessive. It breaks any sense of intimacy the show attempts to emulate with its atmosphere. A sexually explicit story must be able to convey thoughts through body language as well, don’t let all the talking do it. This is especially critical when it comes to foreplay. There has been instances where I can’t get into a scene because the narration always clashes with the suggestive movements, simultaneously doing both of them just makes me lose focus and attention.

With all of that mess, the show tries to end things in a positive manner which kind of puts me off. If you’re going to delve into the lowest depths of a human being, at least lower yourself all the way through and not ascend on the last minute like an emergency rope pulled you out all of the sudden. It immediately brings up a “People can change” cliché that felt so out of place. The only explanation I see for doing this is because they are running out of time, leaving all those subplots it laid out unfinished. It’s like everything went back to normal. Feelings were withheld once again and the main duo continues to move on with their lives without any sense of character development at all from those events that unfolded like it was no big deal.

Overall, Kuzu no Honkai is just a bad case of an unorthodox idea being subjected to a clichéd yet inconsistent approach in story. I could’ve hated it more, but a part of me tried to understand what it was going for. I could’ve not cared for it at all, but it intrigued me enough to pay attention. I could’ve loved it more if only it had a clearer direction in its story. Such wasted potential but it serves as a lesson that just because you are doing something that no one has dared to in recent memory, doesn’t mean you are excused for butchering your own work and still come off as a good unique anime.

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Bonnouji is an instance where it manages to be a successful love story without depending on a drama storyline. It is often a necessity for romance to have some conflict in order for it to develop albeit it can turn into an ugly incoherent mess based on past experiences. What these other works do wrong is that they underestimate the potential a romance can bring. Drama can push a relationship to new highs and lows but it only works when the premise requires for such thing to happen. A typical heartwarming story between couples can go wrong by forcing it into a more serious direction. Cheating, love triangles, family problems; these are things that authors are often tempted to squeeze into their existing storyline. Bonnouji has none of that yet still manages to come off as a mature yet lighthearted story that is believable and compelling to a degree.

One reason why it doesn’t need drama is because the romance is so awkward yet I can see it happen in real life. They get flustered when something embarrassing comes up, have bad timing when it comes to saying things, and own weird sides that they’ve come to appreciate. The romance development is very abrupt most of the time but it plays on that awkward tone well enough to be forgivable. The pacing could’ve been done better though as it can get surprising when you realize that so much time has passed when a character mentions how many years or months has it been after a specific event that happened a few chapters ago.

The story does not delve into the heartbreak part at the beginning of the story and doesn’t get back to it, hence cutting off the main source of drama potential. Ozawa’s ex-boyfriend disappears immediately to irrelevance, making it easier to move forward to a hopeful tone. Breakups happen and sometimes you don’t know why it has led to that point but shit happens and we need to forget about it. Closure is not necessary as long as you’re happy with the present in this case. There is potential though as it can open up some skeletons in the closet but it’s impossible to fit it within the narrative without hurting its easy-going, blissful atmosphere.

The manga however makes up for the lack of drama through its often melancholic dialogue. The characters can get introspective at times, reflecting at the status of their relationship. Is this fine? Will things stay this way forever? There are doubts present but when the couple is at the presence of each other, they feel like everything is going to be alright. The story is self-aware when it comes to why are they such a perfect couple. They don’t fight at all and tease each other at times but it doesn’t end on a sour note. They complement each other’s personalities so much that anything that happens with them often leads to a lighthearted situation. Heck, they even make sex cute and innocent even though it never shies away from being expressed erotically.

I normally seek a solid character background when it comes to romance stories like this but for this specific manga, it made me not seek it at all. They are adults, and probably lived a normal life. No traumatic past events are used to propel further characterization. A character leading a completely normal life from childhood to present while still being wholesome can be possible. The manga plays its strengths at dealing with present situations. Ozawa works at the office, so the story occasionally deals with her frustrations which can get melancholic. Oyamada mostly spends time at his room since his job doesn’t require him to go outside, no deeper implications of a typical NEET shut-in at all. The story interweaves both of their daily lives in such a refreshing manner while having the romance at the forefront.

Overall this can be considered as a wish-fulfillment romance manga. Some will see it that way but personally I don’t care since it perfectly captures the life of a normal everyday adult. Circumstances brought the duo to a happy relationship, but the manga never coats it with too much sugar. It has a degree of realism to it and I applaud it for being such a realistic yet heartwarming tale of eccentric love.

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