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July 15, 2043. On that day, a Full-Dive VRMMO was released, with its unique system called "Embryo" allowing each player to follow an extremely varied—or rather, an "infinitely" varied pattern of evolution. The game's name and slogan?

"<Infinite Dendrogram> offers a new world and your own possibilities."

What possibilities you may ask of offer in the new world? Generic tropey settings? Generic sterotypical characters? Generic visuals? Generic music? The whole platter of this game is genericness, and the reason why we watch this generic Isekai series is to be offered a new world with DIFFERENT possibilities, not to watch series like this of boredom...who would want that?

The "first" VR MMORPG (with AI) to make waves in the reality world (that isn't the human world), oh how great the world they live in! Oh, did I forget SAO, the "father" of the Isekai game genre re-birth? That has existed since 2022, and this game progressed it 21 years later in 2043? Which one's the more popular one now, EH??? Where's the blurred line between fantasy and realism??? Who started it first???

Right off the bat, we'd think of a sliver of hope that Isekai genericness of games like these could offer something different: it's not being able to die both in-game and real life, it isn't being unable to log off either, and as the opening review says it: offering you your freedom to do whatever you wish of infinite possibilities, essentially roaming around like free men and women. And in retrospect, I honestly bought the idea (as is with many LN readers when they first started this series) and thought it was a good one to settle into...until the novelist went too deep and gave up on ideas thereafter, resorting to generic settings that are none the wiser (oh how we hate you Japan for stuff like these).

Starting out this journey like newbies, MC Ray Starling is the kind of newbie I would expect from being a total beginner, but the problem is that as he progresses he went from a rookie to a full-on retard, as if he's the parrot to everyone around him. Even as Embryo Nemesis (AI program) tracks his progress and becomes his sword (and shield if putting it literally). And everyone, I mean EVERYONE in this game, friends and foes alike, are just copy-paste cut-outs from similar shows we've seen time and time again, and communications with Ray are as simple as molasses (but of course, confusing and questioning to the newbie).

Admit it, the characters here are also one-note purposeful characters, meant to serve their time and duty in their assigned position and rake in the efforts. Take "Brother" Bear Shu for example. Being a veteran of the game, his introduction to Ray is as subtle as possible because he's what known as a Superior Master, people who can engage with their Embryos well enough for their desired power. It's not until late that he shows off that power at the "appropriate" timing when the world is at stake. NPC Marie Adler (also a Superior Killer), also tending to Ray when he was just beginning, same as Shu, is being very cryptic at the start (for Ray to get used to the game), but then also comes at the opportune timing to strike. I'm really guessing that you do not need to see the "accidental" coincidence here. And hello, Dr. "Generic villain" Franklin, to decimate an entire town just for the sake of killing the MC, WOW, just WOW and being OP for cheapo reasons. *clap* As the saying goes: "Every man for himself".

Amazingly, NAZ's visuals are not too bad either, just decent. Even in action there's some CG but it's not horrible to say as a quick mention. Given that we've seen much of ID:Invaded (by the same studio), stereotypical visuals. The same can't be said for the music, ending up at the decent range as far as VA-talented musicians go (for Aoi Yuuki and Aya Uchida).

Overall, this series is just another textbook example of a promised Isekai plot that was never utilized nor planned well, that sums up most LNs and the novelists in this day and age trying to break the SAO mold that sadly cannot be shaken, yet loosely inspired from. It could've been a fine-to-good one had the potential be unlocked (as in diving into a new world and creating infinite choices), but it's clear as day that no amount of Isekai would run series like this rampant on its knees (while still serializing in Japan) and challenge the status quo.

What a total shame, Infinite Dendrogram, giving us limited choices with a contrived plot that's bitter to swallow.

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One of the few rugby shows I initially scoffed at, at trying to be another abysmal Try Knights, but what it does, it does one thing well: sold the premise on bonds and friendship over the sport through improvement.

Being someone who is harsh on all aspects, I was surprised to find out that veteran script/series composer Rika Nanase is on this, and despite the no-name 3rd-rate production staff team onboard of this show, she definitely stands out as the main source of enjoyment, considering the "cult following" success of this show (for the 3 of you who watched this). Bleach, Eyeshield 21, Higurashi, Junjou Romantica, you name it, she has done all and shown her prowess at taking a genre and subconsciously subverting it to make up for the enjoyment experience, and it has certainly done in good spots.

What number24 is all about is not rugby, but the bishie sportsboys of Doushisha themselves. What the team comprises are of dreams of former players that don't belong and/or have given up in rugby, only to find themselves in the sport that's mostly persistent through the bonds and friendship of the bishounens involved.

Take the main team's quintuple for example: Natsusa Yuzuki, Yuu Mashiro, Yasunari Tsuru, Seiichirou Jingyouji and Ibuki Ueoka. These 5 have weaved the same red thread of fate for themselves in the path to find their true stance towards one another:
Natsusa, being taken out of the team and imposed the Manager status (due to circumstances that rendered him unplayable on the field);
Ibuki, who has lost his heart towards playing rugby and has no desire to take up the sport once again (but only does because of Natsusa's persistent teasing);
Yasunari, in spite of being Natsusa's junior, has certain disagreements to how he'd function around the sport and leading his own private life;
Yuu, in spite of his small size and although being barely fit to play, made him the Zhuge Liang team strategist and following under Natsusa's imposed leadership;
Last but not least, Seiichirou, more than being the tropey childhood friend, is constantly being roped in by Natsusa due to his monotonous life and needing someone to lead his life.

Add in the seniors and juniors who only got less screentime and act as second fiddle alongside them, the characters overall are brutal for what they do, but it's also the same actions that teach them the meaning and spirit of camaraderie despite the different plays of all of them. Not to mention the light-hearted comedy that stems from Natsusa's improvised childishness to tease the characters so much it gives off a good chuckle. And that gets a very good sense of debunking the heart of this show, which starts off slow but gives a nice reward at the finish line.

Rightaway, the art/animation itself I really didn't have high hopes for and think much of since it's PRA (a studio mainly relying on outsource help), but to my genuine surprise that everything is clean and distilled, a better effort and not the far cry from Gonzo and Seven's efforts to produce Try Knights (like they have a very limited budget). Yes, everything is far from perfect (some PowerPoint-like recycled visuals), but it never really came off as something that's left to be desired. And for the longest time, breaking out of their shell to have a majority production stake is a good thing for the uninitiated. A fine job, really TBH, I'm impressed.

On the sound side, it's all fair, no complaints here. OP is good, and the numerous EDs are worth the ear-listening treatment from the bishie boys. A good job to the all-male VA team.

I'd think that for future sports shows like this going forward, constructing good character-driven stories is what keeps this genre flourishing, and also getting the right people to handle their job scopes (a.k.a Rika Nanase) is the first sign of relief that this isn't the low-tier that we've come to expect from shitty shows (a.k.a Try Knights, Cinderella Nine etc.). If only the anime industry have learned their lessons well...

Nevertheless, for sports fans, a good enticement of drama and play is essentialal, and I kid you not, this show delivers. Even as a guy who generally doesn't have a taste for bishie boys, this was a good treat to rest to, following the characters and living out their desired dreams and working together to achieve their goals. This is the fine gem amongst the rare in the rugby sports genre, in a fairly good way.

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Make no mistake, how many of this Isekai crossover series that Kadokawa can make, and Isekai Quartet will definitely not hesitate to slow down, with the endless list of Kadokawa characters this short can fill just to satiate us with the teasing of new characters, but with a cost of leaving them on the wayside. With Season 2 featuring the Shield Hero characters, and the aforementioned Season 3 (possibly) featuring the Cautious Hero characters (more or less), will this be a trend going forward, I totally have no idea, but just hoping they would've have just as enough screentime as the main cast.

I mean, if you've watched enough of Isekai Quartet, it's standard fare as with a touch of a button, the characters just come at the beck and call of the standard quartet gang of Overlord, Re:Zero, Saga of Tanya the Evil and Konosuba. Meanwhile the shenanigans range from content to content, but the real caveat has always been the huge cast of characters interacting with one another and the many classical noteworthy gags from the 4 series being parodied enough, so much that it feels fresh for other characters to "utilize" and make a joke out of it.

While Season 2 here has gotten better due to the chibi art refinements and how the production stuff find new ways to amass better content, this season really suffered on content that are hit and miss, depending on how the different characters react to real-world stuff and situations that are usual in their world, have different takes on it, spare the comedy that has good amounts of laughs. The music also took a hit, and if from a musical standpoint, it's still good, but IMO compared to Season 1, the OP/ED are good but unfortunately not as whimsical and lively as the former and depending on your taste for music, IMO lost brownie points here.

In a nutshell, Isekai Quartet as a series can be seen as the long-running short that will never stop as long as people have inputs and considerations of Kadokawa's characters being able to incorporate easily into chibi style and let them handle their shit alongside the formidable quartet, albeit still in that same school comedy setting. Still a good show if you'd ask me, but make the content a lil' bit more interesting when Season 3 rolls around, pretty please?

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Being someone who's never watched the original 1998-1999 run of Orphen, I can definitely say that I wasn't missing out on anything much. But hearing that a soft reboot of this is greenlit for achieving monetary milestone sales of the LN (and coincidentally the 25th anniversary of the series), I decided to take a gamble on this new "refreshed" retake, but holy cow, more than making justice to the original run in the first few episodes (I'll give it that), this adaptation managed to be something worse, and not for the lack of trying.

If you'd ask me what magical fantasy series stood out in the 90s, there was some of the action-adventure shows that easily had made their mark as classics like Slayers, the mediocre Bakuretsu Hunters, or even in the 2000s with shows like Kaze no Stigma. Those shows can be recommended in a heartbeat. But Orphen? That is only through word-of-mouth or by sheer coincidence that your TV cable service actually was showing anime that was brought over to the West when it got popular in the late 90s.

And believe me, in writing this review I had to scour for information for people that knew the source material better than me, and from one source I can quote that: "Some things are give-or-take when comparing the 90s to this version, like the magic summoning (which is what the novels actually had that was justice, the "I summon thee, <insert element name>" part and such). The story itself is as standard fare as magical fantasies go, and telling the MC's story (in this case, Krylancelo/Orphen) and his relationship with the character cast, poised with the figure of being the best of the best and with the usual villainy stuff. Whilst the character effects are loosely inspired from Slayers, their weights on Orphen do vary from relation to relation, and honestly to me are nothing but a bunch of nuisances, as much as I want to get invested in them. They may aren't be in 1998, but definitely now in 2020.

And of course, who else than getting Studio Deen for the job, because and with honesty, it's the studio where all the shitty works go when there is no future for the shows under their belt (only in rare cases like KonoSuba and the highly-rated production shows where they ACTUALLY excelled), and this show is no exception. And I'd get it, Studio Deen, par on their horrible record, has been around since the mid-80s, and for Orphen to accomplish the 90s style with modern animation, that does not mesh together in times such as now. "All style and no substance" is the only way I can brand this show.

The OST is one to be laughable at. I mean for one, the original VA for Orphen, Shoutarou Morikubo is asked once again to recast his voice for the reboot whilst all the others are new VAs that are unlike Orphen's. And that pretty much removes close to naught with the nostalgia for people who'd watched the 90s version and thought that it was a nice and good show (bar the insane fillers of that). The OP I've gotta admit, it sounds and feels like a joke while trying to recapture the 90s cheesy opening's feel, but while it's average at best, it's definitely catchy and one of my guilty favourites. Can't quite say the same for Mai Fuchigami's ED, I don't know why but her song repertoire is beginning to feel like it's on a B/C-grade songlist that's to hear once and forget about it.

More than trying to replicate the trend that is with Dororo last year in the realm of creating classic reboots that surpass the original, this show is an abject failure in all respect and to the people that enjoyed the 90s version, I'd say this is even worse than Orphen: Revenge, and even if you don't take my word for it, try this for yourself at your own risk. This isn't a show to reintroduce a franchise that's long gone from a classic era, but rather warrants people to try the original 24-episode run instead that's better in every way.

In a nutshell, only attempt this if you have time on your hands to waste. Believe me, I've tried to look at this show positively and give it a chance, but it always threw the potential away.

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The 3rd and final list of Geno Studio's works after Studio Manglobe's bankruptcy demise with Kokkoku in 2017 (the less popular one) and Golden Kamuy in 2018 (the more popular one and still going forward with Season 3), with this show, we have seen enough of Geno Studio's capabilities as a whole maintaining a less stellar version of Manglobe, but it's definitely a ride to say the least.

This season, the mystery-psychological mash-up of genres produced 2 similar shows: ID:Invaded (the more noticeable but underrated) and this show (the less noticeable but forgotten after the 3-episode rule), both focusing on the human psyche and the psychics' ability to control and manipulate minds, on the context of you the audience, having to pay ABSOLUTE attention to what's going on in the surroundings and not spoon-feeding you with information right-away (which unfortunately the major of the anime community these days don't appreciate such shows where exposition is everything you need to know, and there and then done). It's this element of mystery that creates a niche for the minority (like myself) to really appreciate by flexing our human brains and figuring out the connections behind all the terminologies and why the entire situation exists in the first place.

This review will have spoilers (in the terminological sense), but I will try my best to keep it as plain as possible:
"Peaks and valleys", or so do the ancient Chinese martial artists have a psychotic way to enter into their enemies minds and trying to manipulate their good and bad memories respectively, the "Peak" being visible and the "Valley" being hidden to the extreme.

"The Company", wanting to use this to their benefit, opposes this idea to make these same martial artists to do their bidding for them, or so call the human-slave binding, or what's effectively called a "pet". In any case, think of it like a mafia group using these "pets" into doing their business unconsciously, with the "Crusher" as the master to wipe off their enemies "Peaks" and replace them with "Valleys" so to kill their subconscious minds.

For the "pets", they have an "image" where they can make "babies", objectively creating another kind of their own and together with the "peaks" of others, help share a bond together to create something new. But for people whose "images" are easily broken, a "lock" is created so as to stop enemies to pursue manipulating the "peak" and keeping their minds safe from harm, especially useful to the weak and easily manipulated.

The story takes place in a conspiracy of times where (as mentioned) the Chinese martial artists have proven their track record over using "peaks and valleys" to crush their enemies, and the hidden organization "The Company" is attempting to do the same, for mafia-related reasons. At once, characters seemingly unrelated to each other are now connected to this rabbit hole of a gargantuan plot device, the mindless naïve characters seemingly pointing hands at each other whilst fighting to survive in this rough organization.

As for the characters, as complex as they can be, their minds easily being targets at thinking for the well-being of one another, you can take it as a cluttered mess, or (after watching the entire show in a binge) a toxicated relationship that makes sense at the end of it all.

Hiroki and Tsukasa, the primary "pet"/master terminology, both are characters easily woven into this toxic plot that has one naïve boy with his "image" working for an easily manipulatable master "crusher", being friends at the start and slowly progressing, mind-numbing counterfeit that has one saving the other out of this mess. More than a rough relationship, it's one that has gone through thick and thin for one party to realize what's up and salvage before it's too late.

Hayashi the "Peak Giver", he is the one who started the chain of events down the rabbit hole that was once useful to "The Company" for creating "babies with images" and was labelled a traitor to be taken down, regardless of his contributions and being a free man who wanted the best for the organization. Really kinda feel bad for this man whose intentions for the good have gone so wrong.

And like Hiroki, Satoru who was once a family's child, taken in for an experiment and being labelled a "pet" immediately, it's not hard to see one's loyalty for the Father (Hayashi) who breathed life into him, only for an unfortunate series of events that has him being used by other people. The classic example of being a parrot in other's eyes.

Overall, there is a lot in common with the characters, but the way that they're utilized isn't bad it all, not the best, but for what it's worth I can give it that.

As is with Geno Studio's presentation, I'd imagine this to be a total psychedelic experience from start to finish. All those weird colour palettes and foreboding graphic imagery that proves the topsy-turvy visuals (especially in the "peak and valley" psyche minds), it was definitely something that takes time to get used to, and definitely is NOT for the faint of heart. Visuals are mediocre in the real world, but in the psychological world they do get to be freaking bold (as is the case with imagery) depending on the mind states of the characters. Overall, not the best, but decent at best.

Sound-wise, while the OST doesn't really rock the soul, I truely dig TK's OP as one of (if not) the best this season. Same as is with Tokyo Ghoul, this song might not be as bombastic as the former's but regardless it's a banger of an OP with the overly display of confusing but best psychological visuals of how much the characters are mind-controlled to their demise. The ED is just fine of the many representations (in different languages) of mind perception. As the anime community will say: "Anime doesn't make TK famous, TK makes anime famous."

In all essence, Pet as a show is a niche, a very unique, creative show taking a spin on the mystery-psychological genre, and it's just sad that not many people are taking chances upon trying this show. Not much a Pet messiah, but at least I hope that this review will push you to binging the series in one go (and that's the best way to experience this show) and experiencing a mystery draw that's unlike anything out there.

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I love me some fiction and shows with heavy dialogue, and mangaka Ryo Shirodaira has come back from his work on the incredible Zetsuen no Tempest to provide us another thriller of a show, this time on this series (which also is known as Invented Inference) that involves supernatural beings and humans that unconsciously create them due to their actions that defy logic and fiction with raised questions of battling truth and lies.

To understand this story, you'll have to understand the characters first: humans dealing with supernatural demons in an unconventional world. Two characters seemingly made for each other: Kotoko Iwanaga and Kuro Sakuragawa. The former being a smirk, funnily-senseless (but senseful in the right conditions) loli of a character, her encounter with yokai at a young age has her lose an eye and a leg in exchange for their wisdom, and called the "Goddess of Wisdom" who serves as the intermediary between both the human and supernatural world, solving their issues in amicable ways. A girl being in love with the latter for years, the guy who ate yokai meat at a young age and ended up being immortal with near-perfect precognition abilities, and suffering from a breakup with a mortal human (policeman Saki Yumihara). Asking him out of his assistance thorough the affiliation of yokai isn't as easy as she'd thought, but with persistence they made it through the various instances together combatting both the human and supernatural fronts.

The one thing that people will find annoying is the love triangle relationship banter of Saki and Kotoko on who is better for the demonic Kuro, be it for good for worse. I personally found them quite enjoyable and funny as well, both retaliating on their part on the naïve Kuro who only understands what's good and bad. The not-so-perfect ex-girlfriend Saki Yumihara, being a policeman and also a fit for Kuro for 4 years until all of this happened vs. the persistent pest of a 17-year-old Kotoko who will always find a reason to troll Saki with the funny faces (such as Episode 3's hilariously UwU face that doesn't get away from Saki's understanding) and triumph her way through to Kuro's heart.

With the show encapsulating only one mini arc (the Guardian Serpent) and major arc (Steel Lady Nanase) (and never mind that timeskip portion from the manga, the anime changed the orders around), thing's aren't looking great from here on out. A wreck of havoc both in physical and mental form, backed by the Internet in the waves of controversial beliefs that are similar to those of fake folklore, the trio have a real problem on their hands to solve a mystery they'd thought it was impossible to crack with defying the facts through spinning logic and dealing the ultimate fiction to triumph over this harrowing problem that's caused both human and supernatural worlds to shudder. And I'd have to bring a word of caution that the heavy dialogue is not for everyone. Yes, the manga was definitely better at enriching out the details to full case-level depiction levels, but the anime really did the manga justice even in bite-sized and rushed but tight moments to fully capture the manga experience (for context, one chapter of this series is 80-90 pages long), and that for me is taking this show a W.

As for as animation and sound go, it's alright with some good talents. Brain's Base held it well even from the action scenes and perfectly mirroring the manga's long, overdrawn panels of a weaving story that doesn't seem to end. The OP gives off the usual strange supernatural feel with rock that is good, but Mamoru Miyano's ED easily steals the show. This guy's talents easily known no bounds.

I'd admit that this show is not for everyone, given at how much plot pointers that it throws to the audience and having them to deduce through simple clickbait and logic/fiction. There is no one concrete answer to this, and that is what makes this show unique and stand out from the many supernatural shows out there. If you decide to tackle this, take this with an empty mind and go all the way, never stop at accomplishing that truth so desired it makes total sense at the end.

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A new year, and a new decade, and we're already starting with the "anime of the season/year/decade"? Let's bust our nuts, and Let's go to Paradise! Legally it's questionable, morally it's disgusting, but we all love it! This show has no reason to be good, but it did, for all the right cultural reasons.

Regardless of how much this show has garnered the endless controversy from Funimation's "company policies" to "being too HOT" eventual cancellations and takedowns of TV airings (that are not deemed healthy for general audiences, like WTF), and even Lord Nux Taku's flex on making this show the #1 anime on MAL for a moment (it reached #2), ONE THING'S CLEAR. This show is more than "men/women of culture", it's PEAK culture like the world has ever seen on the face of the Earth!

Ecchi has always been about the borderline between fanservice and hentai (and we people of culture have always been yearning for the next big thing), but what's to say about perverted-but-unashamed people going to brothels and reviewing them: the endless races of girls, all very unique on their own and the amount of services that perks men to unleash their full desires and go all out to have a good time, then to release the review juices for others to try? If we've had buddies like these people who are very, very eager to have sex, it's a hobby to cum for!

In the world of Interspecies Reviewers, know these characters well and by heart:
Stunk the human who goes on adventures...of getting it down with girls of all species, especially his favourite being succubi and hating on elves.
Zel the elf, like Stunk, also loves to have sex with succubi with high mana levels, but his weirdest trait being that even 500-year old girls in his race are more benevolent as other young girls.
Crimvael (or Crim for short), the angel who was torn down from Heaven with a broken halo. Found by Stunk and Zel, they brought him to their housing to work at birdwoman Meldri's work until his halo can be repaired and returned to Heaven. But meanwhile, the Heaven on earth is inflated by him having both male and female private parts (and it shows), but in order for him not to get some aggravated action, he chooses to focus on his supersized bulge that shocks the sexually hungry girls more.
Plus the other reviewers (Kanchal and Co.), the experience is alleviated more.

Based on the manga of the same name by Amahara, there's a very BIG difference in both the manga and anime. The manga is in the "totally not hentai" realm, but the anime...HOLY WOW my bulge is growing. It's one work that I can say it's more than just being faithful to the manga, it actually showed all the sex/prostitution scenes on screen! And it's all thanks to legendary mastermind director Yuuki Ogawa based on his experience on the "THICC thighs" Miru Tights short. He's once a God in Miru Tights, and now he is again here in this show, the "man of culture" legend award truly belongs to this one-of-a-kind director. Ogawa-san, ARIGATOU-GOZAIMTASU from the bottom of our hearts, and big THICC dicks!

Too bad the TV airings are somewhat lacking, because there's 3 versions of it: the usual TV version (which si fully censored that I DON'T recommend), the AT-X version (the 50/50 censored-uncensored version which is good but does not give you the FULL experience), and the "Holy Grail" fully uncensored version (which hopefully the BD/DVDs will not have those annoying censorship labels). If you can find the Holy Grail, make sure you watch that.

Animation-wise, I'd bet director Yuuki Ogawa musy've been busting his nuts to choose a perfect studio to adapt this special work, and none other than studio Passione to lead the charge and provide the full scenery of glorified sex scenes in its full glory. Some great animation and visuals, but I'd see the pun in his naming convention: choosing the studio's NAME eclipses the thought of really having the Passione to do things and go the extra mile to showcase off the wonderful girls, the various sizeable boobs and carrots of men.

In an ecchi/hentai show like this, to have the sound department go way off would be a big and critical sin, and thankfully this show delivers it more than I'd thought. More than the "AHH, I'm gonna cum!" moments of weird, oddly sentiments of the men of culture being sexual, the OP/ED pairing is one of (if not ) the best this season has to offer. With Stunk, Zel and Crim's VAs singing these songs whilst having tons of fun, the OP sounds like a mish-mash of the Village People's Y.M.C.A (Young Men of Culture Association) and In the Navy, while the ED is a mish-mash of different genres: Enka with Rock, Eurobeat and Hardstyle. Both songs are definite bangers and it's hard not to grace the show with songs like these to flex the sex. Outstanding songs to say the least.

In a nutshell, bust your nut! Go to Paradise and enjoy your heart out! One of the best shows of the season, and I understand if this show is too hot for your tastes, but men and women of culture won't take this lying down and this show is an example of breaking the status quo and going in all lengths to create a special show we all won't forget.

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To have a show like this mirror last season's surprisingly good Chuubyou Gekihatsu Boy in all aspects (plot and character) and with 100% inspired accuracy, needless to say I'm always quite skeptical of the chuunibyou gag formula at the start, and come out feeling satisfied at the end. Chuubyou Gekihatsu Boy did it to me last season, and this show is largely more of the same.

The extents of Chuubyou Gekihatsu Boy and this show play down the same game: a non-existent plot about the MC wanting to get some quietness out of life, and in comes the eccentric "otherworldly" boys playing around in their own world and messing the world's balance around with their antics, and finally the MC ropes in together with these boys in an unshakable bond of friendship.

Again, the characters are what makes shows like this so endearing, apart from all the ridiculous antics and comedy:
Koyuki Seri, nicknamed Gestober, the main attraction of the group, a plain-looking boy wanting to have some calmness in school, and always gets arrowed for insane reason he always "dies" in spirit at the end. Plus, his desire to have classmate Kotoko Sumiso notice his crush for her are always thwarted by (mostly) Hanadori. "RIP Koyuki" has been the recurring gag that never fails to make me laugh that hard. Props to VA Jun Fukuyama for doing such a wonderful job.

Kabuto Hanadori, the over-excessive chuunibyou, nicknamed Miguel, the dark God of Destruction. He's always performing alter-ego acts of chuuni so much that it irks Koyuki, but in truthness, wants to be Koyuki's friend and cares deeply for him...that is, unless he's asked to do in consideration.

Utsugi Tsukimiya the teaser and joker of both Koyuki and Hanadori. Always never-ceasing in spreading his "knowledge" to both of them and the constant low-ley teasing that ends both in hilarious states, he's the straight man to their inherent relationship.

As for Hibiki and Mogami, they're just as chuuni in their own ways, the former being a shy one and the latter trying his best to be noticeable at best and helping Koyuki out.

The best has got to be the bond between Tsukimiya, Hanadori and Koyuki and their endless antics that drive the comedy and the bond between Hanadori and Koyuki so well, and Tsukimiya being the "threat" to them both.

With great character comes great animation...in the comedic sense whilst keeping it low budget, and any studio would've been fine in this treatment. What's enough is more than enough, and with all those cartoony, slice-of-life caricatures, the enjoyment shines through. In the sound aspect, it's decent at best. The OP is as average as wack, but I love its bop and hoppity feel, say whatever you want but this is my hidden gem of a great song. AOP's ED...well, just sounds the typical idol group kind.

This show (like Chuubyou Gekihatsu Boy) are shows that you can enjoy regardless of the score/rating, and if you need a time to flex your laughing stock and funny bones, it's worth the watch (plus a re-watch too).

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A foreword to mangaka Tomohiro Matsu: we are sorry with deep condolences for your loss of life, but some people just can't stop trashing your work a lot more. If you are still alive, please stop people from taking advantage of a deceased's work and not caring one bit about the work that you've laboriously done.

Most of the mangaka's works are average, with Papa no Iukoto wo Kikinasai! being the best and this series being the worst. And apparently I don't know the people over at newbie studio Children's Playground Entertainment's work ethics are like, using a dead man's work as its first production? HELL NO.

Everything is trash, PERIOD. Story, boring as hell (though the similarity of this and Märchen Mädchen are the magical segments, but I'd take the latter any day). Characters, one-note and just serving their purposes to be nothing but nuisances. Art, horrible with overzealousness passion. Sound, very forgettable.

Do I feel like a long review is worth this show? Apparently not, short ones like this are more than enough to show the magic evidence of why this show should be avoided at all costs.

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"In the next edition of CGDCT-based Yuri shows, a boy and a girl, looking in the sky, W-A-T-C-H-I-N-G. Watching what? An asteroid! Little does the girl know that the boy is a girl whose looks resemble that of a tomboy, and hence our Yuri adventure begins!"

I mean come on, it's CGDCT studio Doga Kobo and their usual 4-koma manga adaptations (YET AGAIN) of series that tries to push the bank with Yuri-based undertones that got wildly popular with Wataten! in the same subgenre last Winter. And look no further than promising Yuri director Daisuke Hiramaki and his same-old production team coming back once again on the incredible Wataten! to seize the foundation of this show. Yet, for Koisuru Asteroid this time, there's one big elephant that doesn't quite compare the same traits as how Wataten! did.

Where Koisuru Asteroid fails in what Wataten! succeeded is in the story/plot. A Yuri moe battle for Yuri supremacy vs. topics that aim to hide the Yuri within. Don't get me wrong, astrology is one niche topic that rarely gets covered in anime, and for mangaka Quro to take her opportunity at it, really have to give her the commendable effort for it despite it being somewhat relatively falling short.

The characters are of course the unique side cheddar to the story/plot being pretty much a set-up for what's to come. Talking about main leads Mira Konohata and Ao Manaka is like saying that "children can dream dreams, but growing up is another matter separate on its own." Mira being an fanatic in astronomy never ceases to amaze in her young times, and encountering tomboy Ao to make the pinky promise, only for her to see the fated boy *ahem, girl, sorry* once again in school by coincidence. Knowing her love for astronomy, there exists clubs in school that cater to her liking, but it's a combination of both astronomy and geology (therefore earning the club's reputation as the Earth Sciences club) that surprisingly doesn't irks her and gets in the way of her interest. On the subject of Ao Manaka though, she's the Yuri clickbait, a character to keep Mira on her toes despite her every step of the way, from achieving what she can in her time in the Earth Science club and eventually pursuing together with Mira like a Yuri couple always does unknowingly. Both characters are what I would label the "carrot and stick" approach.

That's not to say that this show absolutely binges on MCs Mira and Ao though. The Earth Sciences club, heralded by members Mai Inose (nicknamed Ino-senpai), Mikage Sakurai and Mari Morino (or nicknamed "Monroe-senpai") helped pushed the boundaries of their early days being investigative of their usual interests (astronomy and geology), and with the decreasing club membership count and merging of small-member clubs. They're some of the wisest seniors I've ever watched despite their different dreams and why (like Mira) they're hooked on their dreams in the first place. Together with teacher-cum-advisor Yuuki Endou, the 3 girls make it through their "toughest" journeys (that got better once Mira and Ao made their entrances).

The Yuri clickbait is Mira's childhood friend Moe Suzuya (or Suzu for short). Like Wataten!'s MC Miyako Hoshino, she's deeply obsessed whenever girl-on-girl actions arises (mostly from Ao being TOO close to her at times), and then some. Not to mention the crush she had on Mira, and there you go for some Yuri-undertones "plot". Mai Inose too had a crush on Newspaper club's Sayuri Ibe, a dear friend of hers, but that is mostly on low-key moments (unless you'd really looked hard enough to notice).

As characters go for CGDCT-based shows, it's the standard norm and as much as what you'd expect from shows like these to bring forth and progress the character development of the girls, from how close their friendships are, to recognizing their dreams and not giving up on pursuing them, that's the (asteroid) star in the night sky.

Animation-wise, I need not hurdle too much on Doga Kobo with their soft colour palettes and pretty good visuals that weirdly (but unsurprisingly enough) are inspired from Wataten! (especially on their hair hue spots) from the same staff them that did said series. Niche shows like the standard CGDCT needn't be outlandish, and only what is appropriate is more than enough. Once again (as mentioned), another good job done to Daisuke Hiramaki and his team.

Sound-wise, all are light-hearted tunes that evoke the cheeriness and feelings of Iyashikei-based shows like Yuru Camp. YET again, like Wataten!, Mira and Ao's VAs are complete newbie seiyuus that are once given supportive roles before, and with this being their very first main roles, I'd think they did a very good job lending their voices and being realistic about it. With this, I can't help but feel like future Doga Kobo-inspired CGDCT shows are gunning on future potential rookie seiyuus to deliver, and this IMO is a step forward in the right direction. The OST is just as pleasant as I remember Nao Touyama and Minori Suzuki's soothing music styles, and both OP and ED really complimented this show darn well. Very impressive.

I'd hate to say that CGDCT shows are not for everyone, but in the silver lining of those shows lies a potential waiting to be unfold, and in Koisuru Asteroid, that's the potential of dreams waiting to be realized. This show is somewhat lacking against the usual works of the past, but I'd recommend not giving this a pass and just relax on the sublime of the very genre it's based upon.

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