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DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

OVERALL:
This one knew it wasn't special and exploited that in an inteligent execution!

This anime feels like Durarara!! if it was stripped off the supernatural elements it has and that's actually smart. Being settled in one of the most rough neighborhoods in Tokio it may come up as unoriginal when covering the "gang" concept. It has nothing that stands out, but it was smart about ... that too. If the story was being focused on the main characters and their stories it would probably be really boring, but it doesn't. IWGP adds an slice of life format with everyday stories, everyday drama, all scattered around many people. From long time inhabitants, to turists from outside and inside of Japan, so we don't have to think of just one person that is just casually involved in many events of his life, rather an outsider that just wants to get to know these events. If you want action and deep mystery, this is not the anime you need. But that doesn't make it bad, a slow paced story with unrelated events each episode is a format really common in the slice of life genre and is executed smoothly in IWGP.

ABOUT CHARACTER DEVELOPMENT:
The only characters we meet regularly and actually get some backstory from are the ones who are actually interesting. Not everybody has this dramatic and intense backstory. Look at Makoto, our protagonist, he is too basic of a guy when we talk about backstory but he's still an educated, humble and really caring human being.

ABOUT THE OPENING SEQUENCE: 「NEEDLE KNOT」
The song ain't a masterpiece but it's really fitting, since it describes Ikebukuro as that place you know is not paradise, but you love because of that. I believe that it's really fun nonetheless. The art and animation ain't great either, but investing on a really neat and elaborated opening sequence would've made this apply to "The Best Opening of the Year", but it ended as wasted potential. The scenery references a lot of elements of the anime and of the real Ikebukuro neighborhood, the melting pot created makes it realistic without branching far off the plot.

ABOUT THE ENDING SEQUENCE:「AFTER SONG」「OMŌ MAMA」「BŌKYAKU NO SORA」
They all have a really similar vibe to them but it's again really smart how the animation has really sutile changes dependeing on the episode and how it ends. Unlike the opening, this one is just... Fine... It's a chill sound, a chill sequence, like the credits you stick around to but never really remember or even pay close attention to.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

MINOR SPOILERS AHEAD

ABOUT THE STORY:
So here they decided to include three seperate arc stories and only one of them was decently excecuted.

• FIRST ARC - 1A VS 1B: Great battles, they manage to get the attention towards Class 1-B pretty nicely. I've personally didn't care for them until now. The only mistake was the poor encounter between Shihai Kuroiro and Fumikage Tokoyami and nerfing ... Kirishima for no reason.

• SECOND ARC - ENDEAVOR: The end of it was pretty wholesome. It's nice to see the family grow some affection and forgiveness over time, but the arc itself was completely useless. Filler arcs in this anime are really unnecessary. I wouldn't care for filler episodes (like the couple about Tsuyu Asui) here and there but a whole arc feels like a waste of time. I would've spent more in the My Villain Academia and given one whole episode focused only on Hitoshi Shinsō's past and current training with Eraser Head. Plus, if they decide to create an arc about internships they should've at least focus in all of them, not just the main characters'.

• THIRD ARC - MY VILLAIN ACADEMIA: Loved the change in the main title screen, but the execution of the arc was disappointing. They're supposed to become more powerful, but Dabi didn't evolve at all, neither did Mr. Compress and/or Spinner. Then, Twice's backstory was already explained so it's a waste of time to go in more flashbacks about it, Himiko Toga's was a bit worth it, and Tomura Shigaraki's was interesting but repetitive. We're shown the exact same moment of All for One reaching for him in an alley several times, which was not even a new scene for this season. This arc should've been longer and have a better struture, 'cause it didn't have any at all.

ABOUT CHARACTER DEVELOPMENT: only about the ones I can say something in particular about.

• ĒJIRŌ KIRISHIMA: The tough guy got knocked out seconds into the battle, after everything he's been through... Makes no sense that he's out so easily, so yeah that battle should've been way more interesting, specially after Denki grew some brains finally.

• SHIHAI KUROIRO: Too immature, lacks creativity towards his quirk. That battle should've been epic and hinted at it too, but wasn't.

• KATSUKI BAKUGŌ: Made the most significant progress, he is one of the things I would save from this season.

ABOUT THE OPENING SEQUENCE: 「NO. 1」 & 「MERRY-GO-ROUND」
The first one is a total masterpiece, everything about it is spot on, so my congrats to DiSH for creating this. It relates to the anime by telling that everything that was accomplished by those "No. 1" people or heroes is never enough since our training heroes have to always look forward to surpass them no matter how hard it is to do so. The animation was fun to watch but a bit basic and didn't spoil anything from the actual plot (hints here and there are always appreciated).

The second one, as a singer myself, I skipped this one. Everyone can learn how to sing and be amazing at it, but the performance in this one lack technique and feeling, plus again it wasn't fitting for the vocalist's color. The composition itself is pretty good though. And relates on how the professionals are strating to let the new heroes take over and be the ones that do the rescuing and fighting. And in this case the animation was really poor overall.

ABOUT THE ENDING SEQUENCE: 「ASHIATO」 & 「USO JA NAI」
The first one "FOOTPRINTS" was an odd choice, lyrically has almost nothing to do with the plot. The animation was mediocre, just a bunch of pictures that were too effortless. Most fanart artists would do a better job. If you are not going to animate anything, then you should really pull off some amazing visuals, and they didn't.

The second one "IT'S NOT A LIE" was a really emotional and clever choice. The song seems like if Izuku was talking to Tenko, telling him that he is not actually evil, he's just traumatized and influenced by the wrong people and that he is determined to save him from that pain.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

SPOILERS AHEAD

ABOUT THE STORY:
Last season was bad enough, and since they made the mistake of not even finishing it... Well they made this. One of the many MANY mistakes was to present the season in +45min episodes, it was tiresome and boring for that and so much more, yet they thought to do it again to wrap up the mess. This season(?), movie(?), special(?) ... shouldn't really exist at all. Making Psycho-Pass 3 in 24 - 25 episodes of ~20min each, would've been so much more fitting.

Everything has the same stuff wrong as the actual season so I advise you read my review on that one since they're like, one whole thing. The only new thing that stood out this time was: "We are gonne kill Yayoi, but not really and make absolutely no buzz about it." That and the fight in the "grand finale", you already did a dreadful job introducing Arata so making the final boss one of the subordinates of BIFROST and not a congressmen itself, you messed up the entire organization you intented to introduce in the first place.

ABOUT CHARACTER DEVELOPMENT:

• KOICHI AZUSAWA: I'm led to believe his the final villain? Really? He's just a hitman, he's as important as the "peacebreakers". So yeah, bad decision there.

• SHIZUKA HOMURA: So he's not the bad guy? The only character who would make for as good of an antagonist as Shōgo Makishima is NOT the bad guy?

• YAYOI KUNIZUKA & SHION KARANOMORI: I just wanna say I'm so proud of them clearing their hues, but they're two of the older characters, so leaving the Bureau would require a whole thing for the fans to say goodbye to them as enforcer and analyst no matter if we are going to see them again or not.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

ABOUT THE STORY:
This one was a hit and miss. It's sad that this series have really interesting and unique world-building elements but has failed to improve the narrative and just gets worse with each new installment, and here's why:

The timeskip is completely unnecessary and confusing. Everything about the ungoing story to this point was rendered meaningless for this story arc. Every mayor reveal and ... plot twist is now belittled in the portrayal of the season, and this was not the first time this happens. Sybil's true identity and Shinya Kōgami's reinstatement and transfer to the Ministry of Foreign Affairs along with Nobuchika Ginoza are neevr explained or even rendered relevant even though it is. With this last one we can assume he was offered the role at the same time as Teppē Sugo but it's never addressed.

This season did and awful job introducing so many new faces that no one really cares for during the season. The only thing keeping this afloat are the brief moments were we get to see Shinya, Nobuchika, Akane and Yayoi, characters that we as viewers grew to love/hate or at least got to really know. Even the analyst (Shion Karanomori) seems so uninterested towards what's happening in the Public Safety Bureau. And nothing gets to be explained at all, if the season were to be going in the direction of uncovering what happened to Akane during the timeskip, it'd be fine but it never gets addressed, on the contrary we're presented with a whole new plot. There's an organization all of the sudden that's comparable to the Iluminati but that definitely need to get their hierarchy order; it mixes up the terms (or ranks) "fox", "inspector", and "congressmen". When talking about "inspectors" might even include a translation error. The idea of the BIFROST organization was ok, but should have been presented, hinted or something in previous installments.

ABOUT CHARACTER DEVELOPMENT:
So... Everybody is doing fine I guess with whatever has happened during the last 3 years, I mean no one seems to really care, and that sent the message we shouldn't either.

• ARATA SHINDŌ: I loved the voice acting of Yuki Kaji (our so likeable Meliodas) but that's about it. It's common to develop overpowered characters but you have to do a really good job for the viewer to be ok with the fact they're overpowered. Satoru Gojō from Jujutsu Kaisen and Gilgamesh from the Fate Multiverse are great examples of that. On the other hand it's fine that Arata is a mentalist but him having supernatural powers because he's "overly empathetic" is such a poor excuse and is rather ilogical taking into consideration the laws of the world already presented to us years ago. We are suppose to be interested for his father even, a character that didn't even existed alive on screen. Who is his father and why would I care about that?

• SHIZUKA HOMURA: it's hard to criticize this one, he was presented as the main villain when they decided to focus on his promotion to "congressmen" but he never does that much as a character. Again he is another unsolved mystery that with whom we never get to connect as viewers.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

So this was an EPIC production and would definetely say this is a MASTERPIECE. The only reason I can't say it's a 10, is because of the format and the fact that I'm too biased for it. Uramichi Onī-san came as a mayor surprise this season. It has everything, being primarily a comedy, slice of life, psychological anime it can easily be so much ... more: purely a psychological drama if we focus on Uramichi's life, a josē romance if we focus on Utano's life, a sport anime if we go to Uramichi, Kumatani and Usahara's education. Althought I have to say, this anime is not for everybody, no matter how good it is, because we don't all have the same type of humor, so it's a shame not everybody can enjoy this jewel produced by Studio Blanc.

ABOUT THE STORY:
So here I have to put that little bit of criticism: The thing is, there's so much potential wasted because of the format it's presented in. It's pretty common to have ~6min shorts in comedy anime instead of a full +20min linear episode, but this kind of story can totally be told in the longer scheme and still be as funny. The characters allow it, the setting allows it, the interactions allow it; so it's frustrating they didn't juice this plot as much as they should've.

ABOUT CHARACTER DEVELOPMENT:

● URAMICHI OMOTA: One of the best protagonists I've seen in a long time. Likeable, relatable, unintentionally funny every time. Makes you wonder about every aspect of his life and about everything that goes around in his head. He clearly suffers from depression in some capacity due to his abusive father, but it's not too harsh on his present to really drown him with existential dread. He is the kind of character you just want to hug forever.

● UTANO TADANO: the poor woman embodies the tragedy of being in the idol industry. It happens everytime in every girl group that with their 30's comes disbandment, contract termination, even retirement to some. Unlike solo artists, idol groups come with an expiration date and that's devastating for most of them as they grow old. She constantly feels trapped in a place and in relationships she really doesn't want to be in.

● MITSUO KUMATANI: having one of the many punny names, he comes to be the character that keeps the plot grounded in the slice of life genre. Pure of heart, expressionless yet caring 100% of the time.

● TOBIKICHI USAHARA: He was one of my favorites because his the character that seems pretty dumb and predictable but is actually a really well thought out character. He is just too innocent in a way in which he just can't read people that well and always assumes the best of them.

● IKETERU DAGA: he definitely suffers from ADHD. That's about it.


ABOUT THE OPENING SEQUENCE: 「ABC TAISŌ」
The "ABC EXCERCISE" is a genius introduction to the anime. Playing around with the children's show concept and turning it into a mature comedy right off the bat. There's not too much to analyze, you should just chill and flow along with the song.

ABOUT THE ENDING SEQUENCE: 「DREAM ON」
This pretty chill pop song starts by actually describing what the anime is about, like if the creator or creators just told us, the viewers, what they wanted to do in the first place. It then rounds up by giving the message that "you're never too old to dream" and that at the end of the day no matter if we're dreaming or not let's enjoy it, and push throught during the hard times.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

ABOUT THE STORY:
It has a pretty simple plot, but that's what's likeable in the slice of life genre. If it doesn't feel chill and easygoing is not doing a good job or it isn't a slice of life at all. It does has bits of drama and lowkey romance but is nothing too strong to lose the feeling of an everyday problematic. You can't ... expect much from the story because that's how it's meant to be told.

ABOUT CHARACTER DEVELOPMENT:
There are a lot of shippable relationships and that's always a good sign in a story, it means that you're invested enough in the characters that you're able to picture them in a fantasy future. It's really open to the idea of any kind of relationship and even presents it in every stage of life. We've got from young innocent love between children (Maho and Rui's) to a years-long devoted marriage between the protagonists grandparents. You can picture a shōjo-ai relationship between Kukuru and Fūka, a posssible straight relationship in the foreseeable future between Kukuru and Kai. You can also picture a shōnen-ai relationship between Kai and Kūya. This last one because of the affection displayed unilaterally by Kūya. These relationships are neither explicit nor forced, so it's really nice to have the freedom of choice as a viewer.

The only other thing worth mentioning or warning: sometimes Kukuru acts extremely childish and stubborn to the point of her being irritating, but we have to take into account that she is in fact a child, and that she's meant to be like that, she has yet a lot to learn and a lot of places to grow from, specially with not having her parents around and the process of learning what that actually means.

ABOUT THE OPENING SEQUENCE: 「TAYUTAE, NANA-IRO」
"SWAY, RAINBOW" sets the tone of the plot on how you cannot escape your life, your past or your mistakes, there are a part of you, and the majority of the characters are learning that throughout the season. Learning how to let go and how to accept your life and be able to change what you can for the better. Now that idea can get really dramatic and can set any type of plot but this song encourages the characters and the viewer and soothes the drama so it's not too harsh or dramatic for a slice of life anime.

ABOUT THE ENDING SEQUENCE: 「TSUKIUMI NO YURIKAGO」
"THE SEA MOON'S CRIB" takes the same concept of being followed by the past but in a more dramatic and mysterious way because you don't get to choose which parts of your past torment you, not until you outgrow said pain. It's scary but necessary so Mia REGINA performs the song in a way that embodies the pain of the past but leaves the door open for the chance to, again, outgrow it. Instead of being uplifting and cheerful like the opening theme, is sorrowful and sensitive.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch (that applies to any source material not just manga), so take into account that I judge only what's presented in the animation and/or season story-wise.

ABOUT THE STORY:
Poor and horribly executed. The main premise of the famous detective being dead is actually pretty great. Like ask yourself what if Sherlock Holmes had just the same amount of content it already has but imagine that at the beginning of it all you were told he’s dead. The same exact story but told by Watson and how he follows and admires ... Sherlock. It’s a pretty compelling narrative. The thing is, the anime didn’t do that at all. It’s disappointing because I was really looking forward to it. The genres are not drama, mystery, romance nor comedy. There’s no drama, there are sci-fi random battles. There’s no mystery other than “how the detective died”, the story is too obvious and straight forward, leaving nothing to be questioned. There’s no romance, or at least not a good romance, the couples are not organic at all so it’s boring or even cringy, that same thing applies to the comedy aspect.

If I had to re-brand this anime it would be: sci-fi, supernatural, loli… Yes, loli. Even it is not technically a genre but a style of character, there is A LOT of focus on the loli characters. Don’t get me wrong, that by itself it’s fine but the characters are literally little obnoxious girls and it doesn’t even go well with a detective narrative. Then if that wasn’t unnecessary enough, there’s the need to implement sci-fi and supernatural elements that make no sense at all. They’re not justified, it’s not the future, there’s no magic or spiritual encounters for it be coherent with the world presented. Plus, that absence of adults in this scenarios is more than concerning, it’s like Pokemon but with actual world-wide criminals, serial killers and a nonexistent judicial system.

ABOUT CHARACTER DEVELOPMENT:

• KIMIZUKA: the only one I can actually say something good about. I actually love this protagonist so it such a waste that he could be put into a good narrative. The voice acting of Arata Nagai is pristine and so pleasant to hear. An adolescent character that had to grow up too quickly and is put in this sort of scenarios is always fun to watch.

• SIESTA: not really that legendary nor admirable… That’s all I have to say.
• NAGISA: Is she a Rin Tōsaka rip-off?
• YUI: Stereotypical loli #1
• ALICIA: Irritating, delirious, unnecessary to the plot. Stereotypical loli #2
• CHARLOTTE: Mommy issues much?
• SPES: Feels like taken out of the G.I.JOE series, but lame.

ABOUT THE OPENING SEQUENCE: 「KOKO DE IKITERU」
“I'M ALIVE HERE” is a really pretty song but it doesn’t go with the plot, it focuses on Siesta’s feeling for Kimi and vice versa and as I stated before, they are not good for each other in a romantic relationship. They’re great as friends and co-workers but that’s it. So, stating the anime is about how they’re deeply in love thanks to destiny joining them together, is really misleading. The sequence itself is fair, there is nothing special about it.

ABOUT THE ENDING SEQUENCE: 「KODŌ」
“BEAT” is actually a really good song choice. This anime did so many few things right, and this was one of them. I want to end in good note as this anime is not particularly bad, it’s just a great idea that wasn’t made justice. The song talks about Nagisa’s point of view and her relationship with Siesta. And even when Nagisa is as dull of a character as she is, the ending credits humanize her in ways the anime should’ve done and failed to do. The animation sequence is poor and confusing, the first frame is perfect but just that one frame. I’m glad not many people stick to watch the whole thing, I personally don’t unless I personally love the song, so I stuck with that one frame for the most part, and it was so beautiful. The animation just makes no sense afterwards.

DISCLAIMER: I'm not a manga reader so I always come absolutely blind to every anime I watch, so judge only what's presented in the animation and/or season story-wise.

Vanitas no Carte came as a surprise in every way. Never liked vampire themed stories no matter the format, I've just never been interested in this particular supernatural specie as a whole. So, the fact that I enjoyed this one so much turned out to be jaw-dropping.

ABOUT THE VAMPIRE GENRE:
For the premise of vampires, it's hard to stand out, but are the details in the humanization of vampires that make it interesting and unique. They been able to ... walk in broad daylight and not being all depicted with white pale skin and goth aesthetic are small details that I really appreciated. Plus, we are presented with two basic premises surrounding vampires, they're fairly common and pass as regular humans if they want to and feed on regular "human" food (one of the really few things the Twilight series got right) and second, there is another dimension, a parallel universe exclusive for vampires so they're not actually native to the human realm. About what makes a vampire stand out (other than the obvious blood-sucking) is that they're just overall stronger and faster than humans but any other type of ability is not exclusive to them as a species. "Vampires" as a concept is, here, exploited in ways we don't usually see in mainstream media.

ABOUT THE STORY:
It’s not a spoiler to say there’s been a war between humans and vampires, since it’s barely mentioned as a historic event and we’re not presented with any details about it. But it sets the concept of racism and hatred from one specie to another very well. It does make you ponder the question: what went down for the war to happen in the first place? And opens the idea enough to nurture a 45min OVA Prequel if there’s budget for it, it could totally work if the characters relate to the ones presented in this first season. But a prequel SEASON doesn’t have to go that back as it could present the story arc for Noe’s mentor’s life. He generates intrigue, but I’m afraid he borders to be a typical overpowered character. A lot of characters in different stories are tiring due to them being overpowered, but if he’s managed properly, he would make an awesome protagonist for a prequel season. The story in this first part leaves enough questions to understand and engage deeply with the world presented and still wonder what could happen next.

ABOUT CHARACTER DEVELOPMENT:
VANITAS: highly likable androgenous male character, the relationships he builds feel natural and has a personality that doesn’t necessarily tie to a specific sexual orientation. NOÉ: innocent, unexperienced, fills the qualities of a typical child, curious and mesmerized about everything about the worlds around him, again has a personality that doesn’t necessarily tie to a specific sexual orientation, he’s obviously still figuring out who he is and what he wants; makes it heartwarming to watch him learn and grow.
The story could but doesn’t feel as a shounen-ai or a yaoi and I don’t think it will get to be as explicit if it ever decides to take that path. So, it’s enjoyable for everybody no matter if your comfortable with same-sex relationships or not, the co-protagonist’s relationship feels purely friendly but can still be shippable by many. It sometimes taunts with the idea in a way that it doesn’t feel romantic or forced by tying it to the symbolism surrounding “blood”.
It’s genius how the relationships between characters end up forming a love PENTAGON (won’t say how, that would be a spoiler) without feeling unrealistic or overwhelming. The thing is there is nothing I would consider special about any character here, there good characters but not that memorable

ABOUT THE OPENING SEQUENCE:「SORA TO UTSURO」
"SKY & VOID" is a pop, soulful ballad masterpiece that ties perfectly with the characters. One being the representation of the sky and the other the representation of the void. It describes beautifully the relationship between Vanitas and Noé without ever specifying which is which. The sky can allude to bright blue eyes of Vanitas that are full of significance in and out their world but also can refer to Noé’s innocent baby blue-soul; and the void is referring to someone dealing with trauma, that could allude to both of them as well, as they both deal with trauma but in completely opposite ways. The song is pleasant to hear and merges well with the slice-of-life sequence we’re presented with Vanitas and Noé just walking around France. It’s a bit sad they didn’t exploit the art and the scenery as much as they should’ve, the art is fine but it’s nothing that special. Few stories are settled in France explicitly, so they could’ve taken advantage of it way more than they did.

For you: who is “the sky”, and who is “the void”?

ABOUT THE ENDING SEQUENCE:「0 (ZERO)」
Another soulful ballad full of sentiment, this time it revolves a more dramatic and sorrowful kind of love. The animation is fine, it could’ve had more symbolism and detail as the song allows it. The song could be interpreted in 2 really different ways. The first, and the most obvious is narrating how Vanitas and Noé’s encounter was a product of destiny. It would be no surprise that, that is the intention behind it. The thing is, in a deeper sense, it could narrate the empty promises that Charlatan makes to its victims and accomplices.