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From the year 2018 and ongoing, there will be more split-cour seasons to lessen the burden of new series coming into play, and that's the cause of this popular smartphone game that is Million Arthur. And I have a nitpick: With how this initial season already played its cards, I wouldn't be surprised if Season 2 in Spring 2019 will be more of the same.

Hangyakusei Million Arthur may look like the generic game adaptation that so many others have tried to imitate, and isn't good, but as it stands out, it's the typical wash-rinse-repeat formula of fighting some evildoers with their weapons called Excaliburs (which gives them powers), and the 6-man team (Dancho, Renkin, Kakka, Rurou, Yamaneko and Tekken) must traverse through all periods of time to exterminate a million people for their mission to be accomplished.

As par with its premise, it's really nothing special but it does good on its own. Characters are what it is (none from the game itself), and the amount of action is good and balanced enough. Still, nothing to trifle about.

Based off on Square Enix's popular RPG, there shouldn't be a surprise that J.C.Staff could pull this off with minimal effort. Great choice of art and animations that follow strictly from the game itself (or rendition), and honestly, it doesn't look too bad. Same goes to the very generic music too, nothing that really captures the most wanted attention, but it fits and as far as I'm concerned, also a non-issue here.

But...I'm not ashamed to say that if you want to watch this, I'd much suggest you wait until almost the end of Spring 2019 to binge-watch this split-cour from start to end (like around Episode 22/23 then start from Episode 1 way back in this season). Not to say that I enjoyed this anime, but there isn't really a whole lot to say about it.

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Before this review starts, learn something about rare myopia:
Monochromacy, or Achromatopsia, is a true rarity in the world of myopic colour blindness. Or in layman terms: "People with monochromatic vision can see no colour at all, and their world consists of different shades of grey ranging from black to white, rather like only seeing the world on an old black and white television set. Achromatopsia is extremely rare, occurring only in approximately 1 person in 33,000 and its symptoms can make life very difficult."

That's the circumstances that befalls on the life and upbringing of Hitomi Tsukushiro, a 17-year-old emotionless girl, and the descendant of a witch family, growing up in total colour blindness and having blimps of magic in life. Raised in the future, and then in the year 2078, her grandmother Kohaku chocks up some time-travelling sand to send Hitomi back to the present day of the year 2018 (since it's an original-sourced work by Natsuka Yashio) to fix her sorry state before everything is as it were 60 years down the line, to help her understand what it means to see the world in colours through the different sets of eyes from the people she interacts with: Be it her own same-aged grandmother, and the Magic Photography Club members (especially Yuito, with her first encounter being after dropped from the time-sending bus, escaping from his house, then unconsciously meeting him face-to-face with his drawing that at long last brought the sight of colors into her life).

The life that Hitomi has to be lead on is one that has to be well-trodden, and under special circumstances, if all she has ever going for her is the constant but gradual help from the other Magic Photography Club members (Asagi, Kurumi, Yuito, Chigusa, Sho, along with Kohaku) in requesting her to do activities that help each other see differing views of one another, along with some enhancement magic spellcasting from Kohaku (at the time when everyone in school sees her magic as either a nuisance or an asset). With Kohaku's request to help Hitomi regain her colour of sight (or lose that colour blindness either way, even for a brief moment), everyone has a wandering feeling about Hitomi at first glance, but as soon as she starts to slowly open up (which I feel her shyness/closed-up introversion is painful but relatable to watch), they understand where she's coming from and attempt to help her experience the typical person's life that's full of colour and happiness (with some help from Kohaku's magic spellcasting). Viewpoint from story and characters are engaging yet also alert on their surroundings, and the character development of each and everyone feels as if they're on a joyride, going through the numerous pangs of life.

*Spoiler ALERT* And here's where I have a nitpick for hits and a BIG miss. Knowing director Toshiya Shinohara (being well known for Nagi no Asukara, another P.A. Works classic), the miss is in the romance segment. If you watch the OP animations bit by bit, you can tell that the pairings of the characters are immediately on-sight (Asagi X Sho, Chigusa X Kurumi, Yuito X Hitomi). Take for example, in Episode 9, Sho asks a regular request of Hitomi, of going together around the city to take photos (a.k.a. A foolish way to ask her on a date), and then confesses to her emotionless state before unknowingly running away from his reply, to then Asagi has to confront her about the entire situation, then explain from Hitomi's perspective, and as a means to an end, reconcile without any know-how, for the sake of prolonging (unnecessary) drama. That's just blatant "insert casual" writing and a waste of resources (production, airtime, not to mention $$$ to boot). No wonder there's a lot of flak on this particular episode where nothing makes sense from the departure against the good flow of the series (to that end). If there was a choice, this episode seriously needs to be cut out.

On the other hand, the hits are subtle and ever-growing interaction of the cast, but the blandness (of Hitomi's character drive) and boredom (Club members always doing the same-but-different things over and over again) can set in when at least expected, and draw the audience away from the big picture, which is seeing Hitomi recognize her space and vision of colour in her own world. Not to mention, that since Yuito is the solutional catalyst for Hitomi's predicament, the last arc (where Hitomi has to contemplate living in the now vs. going back to her time) has both of them recognizing their feelings for one another, and the build-up from being one of the club members right down to the final moments where Hitomi gradually disappearing/fading from the current time, has him really down to the core of whether to accept Hitomi for who she is, and Episode 11's bittersweet end (where their endless run to close hugging embrace) just encapsulates how much they really need one another to breathe life (or colour rather) into each other. Such a cool and good moment for never-ending cheek-rolling tears of joy. In the end, Hitomi manages to see colours, this time with both eyes too, so objective cleared for the character cast (and mostly Yuito for being with her in the final stages)! What a pleasant sight to behold.

If you're like the studio NUT of concern (like how I am always), there's nothing to fear with P.A. Works standards as per the main course of relinquishment. And this time, the production staff just 1-upped themselves as the whole production is absolutely the real deal. For a series that embodies colours as its main source of documentation, both art and animations are a step above anything else that can be equaled (or close) to anything KyoAni could ever have done. Instaneous great care has been taken responsible by the animators, photographers and even the artists, and the evidence is translated into the obscenely colourful visuals with great contrasting variety and combinations that is just eye-dropping, and pairing up is the smooth-buttery animation that the studio is known for with great angled POVs that really stand out amongst the competition. Overall, I'd say for the year, this stands in line with KyoAni's Violet Evergarden for the most grand productions ever made.

Sound-wise, this is technically another competent area as well. The OST really shines (with the aid of background visuals of course) with the finest ways it could to a certain degree. Haruka to Miyuki's "17 Sai" embodies the feelings of 17-year-old young adults (in this case, the character cast) trying to imagine how to live life with expressions translated into colours. And I've gotta admit, it's a cool song that speaks about living life to the fullest, and bringing forth the technicolour feel (that initially I hated it but after hearing the song over and over, I began to love it for what it is). And if you know Nagi Yanagi's repertiore of calm-collected-composure songs, the ED is really no different, and is once again, light-hearted and speaks volumes about Hitomi's future of monotony and colour with contrasting effects. A somewhat heavy-sentimental song that still manages to tug at the hearts of many (including myself).

As it is with the hype of P.A. Works production, I'm equally content that I managed to watch this interesting premise of a show, learn some pointers (not the romance part though) and be stunned by how everything works together to create an excellent aesthetic of visuals and great emotional character-driven development, that just begs the question of how does all of it come together to create a moment that seemingly won't last forever, but will forever be remembered for times to come. The only reason I can see people dropping this is just the slow-but-progressive storytelling, and the bland MC Hitomi (but trust me, there's 1001 reasons why for her unsentimental self). But I plead you, overlook these potential problems, and you'll have a show that's well deserving of its initial under-appreciation. Guess this could be a recommendation if you are an aspiring artist, or someone who loves to see artistic beauty at its finest.

There won't be simply a show like this and Iroduku is a masterpiece in its own right (although great to begin with).

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The Shoujo Ai genre has seen it's fair share of ups and downs, and has been a letdown in recent times (We're looking at you Citrus), so when this show dropped in this season, I was very flawed at how I understood the taboo that is the Shoujo Ai aspect, but yet this show managed to do an outstanding justice to the genre, and (at this time) is one of (if not the best) shows due to its maturity and how it defines and breaks the convention that has been done before (e.g. moe-fied Yuru Yuri series) and teaches a whole new lesson altogether.

Yagate Kimi ni Naru, or Bloom Into You, tells the story of Yuu Koito and Touko Nanami, two individuals clasping for love in the most unusual way. Yuu, having grown up and loves reading shoujo manga, she feels the slightest (if not none) feeling of confessions from the opposite sex. Enter the high school age, and the other party (Touko) also gets the same treatment as Yuu, and immediately rejects the exact same feelings without hesitation. Having never both fallen in (true) love before, the tale of how Yuu and Touko manages to control and share their desires for each other; clear up misunderstands and all that stuff; is an entirely new territory to them. Although the lovey-dovey moments are a slow-but-painful process, the ever-folding drama is what makes the process special not just for the main duo, but the supporting cast as well (which is the Student Council), helping both Yuu and Touko in accidental taboo moments (Maki discovering that Yuu is in love with Touko, while the Sayaka-Touko-Yuu love triangle is present (but thankfully not told) and isn't the crux and problem (unlike Citrus)), discovering what's best and how to support each other. Not to mention that Saeki Sayaka, having come off from the same girls' school as Touko, has the same rivaled feelings when Touko always gives special attention to Yuu, so much that she doesn't let go, but understands her troubles and whatnot, really giving the edge to understand and not to conquer, that's a very bold decision to further drive her character into holding Touko close to her heart but not wanting to impede on her path.

Above all, everything about this series is so well done, the writing doesn't feel tacked on and it's mostly ingenious genuity that really pushes every character (be it main or supporting) into simple or complex conflict that raises doubts and questions about each other's true intentions and whatnot. Brilliant work to the writing staff.

TROYCA's art and animation is simply unrivaled. Although it is a detracting from their usual work (the Re:Creators style), they don't stop there. The beautiful art and the gripping animation are both works of wonder to draw people into the world that is both sightseeing and emotional-driving, that once you try to take your sights away even for just a moment, you're missing out on something special. Another brilliance of a work here to capture the gaze of the audience, and I have to say, this is a special moment in the world where imagination works wonders.

Even more brilliant, is the sweet dope-fresh music. Most particularly, Michiru Oshima's composure of music. The beautiful, fantastic OP by Riko Azuna is really the icing on the cake, one to listen to on repeat, as is with the beautiful and subtle emotional tellings of the trio (Yuu, Touko and Sayaka) as they attempt to mask their true feelings for one another through the lush artwork present and the timely animations that just intensify the emotions all of us have to go through, even in forbidden land. The sweet ED by the main duo Yuu and Touko is OK at best, but not one to slouch either, as they try to walk the fine line through the relationship that has already been established.

It's about time we get an absolute masterpiece of the Shoujo Ai genre, and we have reached the pinnacle (or is it?). This is a show not to be skipped, even if the Shoujo Ai tag brings displeasure or disdain to your romance list.

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For a fantasy, magical adventure series such as this, please don't be dissuaded by the score itself. Instead, it gives you the sense of feeling that with the main character (and his companion), you're experiencing some that is good on its own merit.

The story goes of the usual magical fantasy, where humans and monsters exist, and with magic of course. We have our main protagonist Yuu the Healer (considered rare in the world of Merc Storia), with the special ability to heal monsters, something that is inherited within the "pretense" family that is the context of the entire show. With that set in mind, The Apathetic Boy Yuu goes out to adventure on his conquest to heal monsters, but not with his companion Merc, the Girl in a Bottle, trying to regain her memories as well.

Story and characters are taken of the context of the game, and given the episodic context of the series, it can be shown that Yuu and Merc, the pair travelling to various towns, and with much danger that they face, they have to be wary of everyone they see. Yuu unfortunately is a very timid, shy person who is scared of monsters (for some reason, IDK if the game explains it), and Merc is something like a gift from his father, and just attempts to pair her up with him to know more about the outside world, aside from just recovering memories alone. And thankfully, when Yuu gets into trouble, each and everytime, Merc is always there to aid him to cut off any form of misunderstandings. The other characters in interaction with Yuu and Merc, regardless of character, personality or form, they provide a way for the pair to understand countless situations and problems: To heal monsters (for Yuu) and understanding what is going on (for Merc). Unforunately, like SSSS.Gridman, the monsters-of-the-week are a weekly recurrence, and that area is where boredom can set in very quickly and make this a forgettable series.

I really don't know much about Encouragement Films, other than their ONA series and the great series that is Hitorijime My Hero. And I've gotta say, I really am (forced to be) ENCOURAGED to watch this series from start to end. This series was just an eyeopener to their work, with the lush art and beautiful pastel-like backgrounds. Same goes to the music itself. Mili's OP (which was quite a shocker for me) and Merc's own ED, both are really calm, soothing and although didn't feel like a mixed-well appropriate OST, it is what it is.

If this had an at least good premise, I would be stoked to watch this. The divide here would be whether at least this had good character context or either an engaging story (which it most likely didn't). As for myself, I can only say it's an OK series, and nothing more.

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Opening narration (for wild peeps like myself):
"Tonegawa Yukio, the No.2 man of the massive Teiai Group.
He serves the monster of the Financial sector (Hyoudou).
This shot-caller rose to the position of Prez's right-hand man.
This is the story of the battles he waged as a middle manager...in the shadows of the glory and fame he achieved...
About the struggles of a remarkable man...chisana, chisanaaa, monogatari de aru (a small, unremarkable story)!"

Zawa...zawa...zawa...zawa...

Disclaimer: To be honest, this series is my very first actual interaction into the Kaiji series, so if I missed out some details, please forgive me on this.

To Kaiji fans, sorry, this ain't Season 3 and the continuation of the wildly popular series that is Nobuyuki Fukumoto's Kaiji: Ultimate Survivor. Instead, this series focuses on the No. 2 person of the black market group that is Teiai Corporation and the right-hand man of nefarious President Kazutaka Hyoudou: Tonegawa Yukio, Middle Manager (or middleman) between President Hyoudou and the men in black that's introduced and is present in both seasons of Kaiji. Technically a spin-off non-canon series if you will.

Made as a manga by Tensei Hagiwara (literally a die-hard fan of the original series), which includes both this series and 1-nichi Gaishutsuroku Hanchōu which features Team E's famous underground foreman Ootsuki, the premise of Chuukan Kanriroku Tonegawa is set-up very differently from how Kaiji was from the get-go: a comedic parody of the day-to-day events at Teiai Corporation, featuring both Tonegawa and his project team of mercenary MIB in all sorts of weird antics despite the age gap in his group. Unlike Kaiji though, the series of events of Chuukan Kanriroku Tonegawa isn't quite set-up the way that it is at random, but is linear to how Kaiji started and its gradual flow, which it incorporates a similar style and its origins (since time is turned back towards the pre-Kaiji days). So, with this series, don't expect too much, but just encounter Fukumoto-sensei's well-known Zawa...Zawa… trademark, lots of endless comedies between the Prez, Tonegawa himself and his team of management blues, regarding and taking responsibility for whatever actions that are dealt with, and vice versa. Not to mention, Foreman Ootsuki's involvement with his other labour staff and his one-day outing excursions which feel very off, but with the joining of hands between Tonegawa and Ootsuki, it once again feels very natural in sight.

The acclaimed series was done by Madhouse 10 years prior in 2008, so it wouldn't be a surprise that even though Madhouse is once again back to animate this project, albeit with a different production staff this time and not the original team, it wouldn't necessarily cause justification or a rationale of the "pointing fingers Blame Game". But instead, it still manages to showcase some of the fine details that is an omage to the Kaiji series, and for that, I think this is a win. For the most part, Madhouse manages to peak out at a good angle of watch-ability, and even if some parts are not great, the series as a whole looks pleasing to the eye, and is really a treat to watch some of the finest non-Kaiji stuff.

The music is unfortunately the low point of the series (to just about many), but I actually found it good to begin with. Gesu no Kiwami Otome's OP which explains and sing praises about Tonegawa's standout traits is the perfect song to go with it. The moment when I heard the song and realized that the entire song is just 2 minutes short (that actually fits within excellent narrations done by sportscaster Jay Kabira), I couldn't believe my ears! It was just SO SO perfect and well done; the duration makes sense for Jay Kabira's introduction of Tonegawa (for front instrumentals) and the ever constant "chisana, chisanaaaa, monogatari de aru", that's when I know, it's a damn great song that thankfully lasted throughout the entire series. We got 2 EDs this time, the OK-ish 1st half by Pistol Takehara and the impressive up-beat and uplifting 2nd half by NoisyCell. Regardless of choices, I found the music to be the detractor for many people here.

In all sense of the word, Chuukan Kanriroku Tonegawa was a very fun, well-deserved watch, and the privilege is that you don't need to be a Kaiji fan to watch this funny spin-off. To the haters, I'd suggest you'll give this one a go, don't think too much on the negative aspects of Kaiji vs. Tonegawa, Ootsuki and vice versa. Just let loose, and let the Zawa…Zawa~~~ take reign over you.

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WTF did I just watched...

Do you remember Spike Chunsoft, the same company that brought us the beloved Danganronpa and Mystery Dungeon series? Well...they also made this series, and left it in glorious Japan, where Nippons loved the hell outta it and got a sequel (released globally). And...to both shock and amazement, it actually was well-received!

And, now we turn the clock to the series that is the well-trashy anime adaptation by Gonzo of the first game...

The story from what I can tell is unchanged from the game itself: the player (or in this case, Visitor Itsuki Yuge) has to flirt with the 12 constellational girls (erm I mean, maidens, sorry...) in order to "give birth" to Star Children, which in turn, Itsuki takes them to seemingly random dungeons to fight evil beings known as "Impurities" to save the world of Granvania. Here's where the controversial divided opinion starts. Despite the Itsuki X constellational maidens set-up, they don't necessarily need sex in order to give birth, but "pour energy" (or the "Love Ritual") into these maidens so that their Star Children matches the powers that each maiden have to aid Itsuki in his quest. And...based on that aforementioned setup, it looks and feels like a censored hentai in almost every way (Heck, why NOT make this a hentai in the first place, that would be better!) Maybe it the "It's NOT an eroge" baby-making pitch that made people think otherwise, and in this unfortunate case, in the hands of School Days director Keitaro Motonaga and the people over at Gonzo. And...it's a trashy masterpiece in its own right that can be best matched up to the glory that is School Days itself.

I really don't give two Fs about the characters as well. For one, Itsuki Yuge the Visitor himself, not only was he being summoned to fight against the Impurities as the last hope for Granvania, but dragging along his cousin Mahiru, who seemed to be "pregnant" with his Star Child, and all the way through, he was there just for the sole mission of process-eliminating Impurities so that Granvania can be prosperous again. Otherwise, he's just bland, unlikeable and a sore thumb to look at. Same goes for the 12 constellational maidens, throughout the series we get some backstory about their lives, and it's for that reason that they exist to help Itsuki on the "give birth" side of things. (Spoilers) Not to mention that Alfie, being the extra maiden (literally "extra"), that was when the entire show took a nosedive for the worst. I'd appreciate her sense of literally being the caregiver for the Star Children, nurturing their growth so that Itsuki can utilize their powers to fend of evilwarts, but anything else than that, it's a direct rejection. Easily the most annoying is Mana the perverted sub-jestic raccoon whom is always acting for Itsuki's naughty and weird antics that it becomes a chore to listen to it everytime in relation to Itsuki. But thank God it's the final boss, and so to speak, defeating it is mission accomplished.

And...not to mention the almost drab looking art and animation. I know that Gonzo isn't one of the studios to count on for quality anime, but it at least presented a good chunk of art that's resemblance to the game aestethics itself. I have no idea how it comapres to the game, so for those who have played the game, judge and compare with your own eyes. Animation is very minimal for the most part, as it just involves some fighting action, mostly lustful love-sex moments and Mana's direct-indirect love-guru movements over and over in repeat.

And oh God the music. I've gotta say that the music really just subverts expectations of the show itself. Nano's OP is just as great, although her new song "Star light, Star bright" is a departure from her usual reprtiore of songs, she has indicated that this song is for the light happy moments, so good for her, it still is one to remember. Same goes with well established VA-cum-musician Manani Numakura with the ED as well. If there's an area of good impressions, it will always be the music, and it doesn't disappoint.

In the end, how I wished this was an eroge to begin with, when you have enough evidence of "giving birth", endless amount of flirting and whatnot, if it was designed that way it would have been a moderate success, just with more censoring. Alas, what we got was a series that had given its base up since the beginning, and as a result, created one of the most trashiest anime of the year. Stay far away from this one if you desire hentai levels of enjoyment, or not anime in general.

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What even is this...as if Season 1 wasn't enough, the split-cour continues on with even more wacky sci-fi/mecha references and whatnot with Season 2. And...I've gotta say, the latter season is just as funny as the former early this year, if not a tad bit better, with more characters, some insane moments that still warrant some laughs here and there, and definitely went out with a bang (because at the time of this review, the series had already caught on and further compared to the manga source).

Assuming that you have watched Season 1 (which you should), Tiramisu Zwei continues on the pursuit that is between the rivaries of brothers Tiramisu's Subaru Ichinose and the People of Metus's Isuzu, along with the estrange of their father, whom for some reason, has come to witness the fight against brothers (while opening unnecessary porn and censored ads in disguise for battle plans). Not to mention that now that Subaru's Durandal got a major upgrade that is Neo Durandal which is faster and better in every way, and Isuzu with the make of Subaru Beyond as means to defeat his brother, expect even more wacky stuff to take place for absolutely no reason whatsoever. And I still love it.

Major characters make their comeback, so new ones are just probably Subaru and Isuzu's dad and the commander of Metus, Cadillac, which aims to rebel against convention and go for the same reason that Isuzu hated Earth to begin with: to escape legalism. Not the best minded characters, but for it being a mindless parody, what's not to like about them?

Similar to Season 1, the same production staff under Gonzo for Tiramisu comes back again to make art and animation that is still consistent but minimalistic that is well-known with the series, and it's totally understandable for it being a short time of binge-watch, since it doesn't have to sacrifice a lot in accomplishing whatever means they have to do. The music department is the same story, just with another new great sounding OP and the new version of Season 1's ED (which includes commentary).

For a parody of its aforementioned genres, Gonzo does a good job despite the low score and waning interest after the disinterest that was Season 1. Season 2 brings new life into the series, and much from it, still gives a good impression for what it is. I'm gonna leave it to you to decide whether or not to catch-up, but it's gonna take another good chunk of boredom time to sit through everything again.

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The legendary series that is Golden Kamuy has had its shares of greatness, starting with Season 1 in Spring 2018, and now the sequel this season, which expands upon where Season 1 left off, but with more refined balance between the comedy and action. In more ways than one, Season 2 solidified everything that was lacking in Season 1, and made it tenfold better IMO.

We continue on with Immortal Sugimoto, Asirpa and Co. on their journey to find not just the gold, but the man responsible for the whole fiasco in the first place: Nopperabo, the big eyes Ainu of a traitor, which is also Asirpa's father in cold spirit and truth. In the context of having watched Season 1, Season 2 here is more grim, fast-paced, and the amount of violence and action doesn't hold the series back, with some of the greatest scenes designated at moments where predicted but last for as long as it should be, so long as the balance was held. So, with the new season, you're getting twice the action, twice the excitement and worries that are just chillax; the surface of the iceberg.

Golden Kamuy's characters are always the crew that we always find it intriguing, solely at first with people like Hijikata, Ogata, whom get their characterizations more heavily involved. And with how Season 2 ramps up the ante, along with the alliances of everyone working together for a common goal, the risk of betrayal is something that cannot be taken lightly. Quite possibly the biggest detractor is Lt. Tsurumi himself, looking through Season 2 lists quite a good range of capabilities of the 7th Division captain himself, from being the model for other calefares to being more relentless in the final stages of the cat and mouse chase to Sugimoto and Co. I'd say that with everything out of the bag this time, Lt. Tsurumi is the most fearsome character (even more than Season of 1), but everyone has upgraded their game into the series, and it's a firm foundation.

Once again, Geno Studio did an amazing production on Season 2 here, omitting the awful CGI bears in change for some great action and backgrounds. However, the drawback is that for the night scenes, the entire show goes into entirely black mode and it's barely discernable when put in comparison to Season 1. Maybe some lighting would have been fine, but for what it is, I'll take it any other day.

The music got a good upgrade and a better follow-up over Season 1, with Sayuri and MY FIRST STORY's collab for the OP, that not just sounds a whole lot bad-ass and better in every regard, but also aesthetically. With that said, the ED, featuring some loud-banging and bashing uncle that's on drugs, most would find this very noisy and distracting. Golden Kamuy is a series that just needs a good balance of substance, not some over-the-top values that cue the series. But on hindsight, it couldn't have been the perfect ED but hey, it's better than nothing.

What an amazing series from start to end. Definitely would recommend this series to historical action fans, but first, go watch Season 1 then come back for the sequel.

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"No sorry we don't have that it's...uh...SPECIAL YAOI BOOK!" - Honda-san

I'm gonna give this an outstanding score just because. Can I (or we) call this the SOTY (Short of the Year) for 2018? Because this short-form 10 minute series, as simple as its premise goes, drives home perfectly about more than just being a fun and educational series. Heck, anime like this really are once-in-a-blue-moon novelty! And...this is brought to you by director (not Shouto) Todoroki Owl (his very first directorial work). (Aw, Shouto almost had his own anime...)

Originally a Pixiv web comic, Gaikotsu Shotenin Honda-san is an accurate depiction of Japan's culture of bookstore staff handling day-to-day bookstore work measures. For the sake of adaptation, the writer himself Honda-san phased himself as a (not so Ainz-sama like) skeleton which is voiced by the ever popular Soma Saito, and honestly, he fits the role of the skeletonized human Honda-san very well. So now, imagine with me on this. If you decide to journey to Japan one day, enter into a random bookstore to see how and the behind-the-scenes look alike, and of course, after watching this series, more often than not, I'd bet that you will have a more appreciative sense of both the bookstore as well as the staff themselves, which is the selling point of the series.

Not to mention, while MC (Momonga) Honda-san constantly wrestles with his own thoughts and opinions against the people in the bookstore, ranging from young to old people with perfectly normal to obscenely random choices of purchase (e.g. erotic, BL etc.) , he does not just go alone. Together with his other staff like Okitsune, Kamibukuro, Gas Mask, Section Chiefs Pestmask and Armour whom deals different sections and catalogues of books of which are handled by the ever-so-flctuating involvement of media companies like Shueisha and even Kadokawa themselves (since Kadokawa censors out popular and obscure titles for research, and is always laughing puns), and even these companies themselves, negotiating for usual stuff like shipping, packaging and receiving stock. Even more so, being a SoL comedic series, I find myself sympathizing with Honda-san and his colleagues for the insane random situations they face, and of course, the laughs, there is always the endless randomizing customer-staff expressional bickering that is worth many damn chockful of laughs. So if you want to upgrade your list of anime memes and endless references, this is the go-to source.

Being a primarily kids-centric studio, DLE's simple art aesthetics are really just for show, and do deliver on the depictions of how Honda-san's actions and expressions are laid out, and that is transferred onto Azarashi-san, which is Honda-san's writer for this series. And for what it is, it showcases greatly and fondly.

But to me, the music is what drives my love for this show sky-high.

"Do you know us? We are natural born “Best Book-Beller”!
どんな時だって、Yeah
Yes! We want to look for your want, that’s precious for you!
此処にあれば…So good!"

Technoboys Pulcraft Green-Fund, which did the OST composition, which features Honda-san for the fun, creepy yet bombastic head-banging OP and indie artist Hiroshi Takano for the calm and happy ED. If you haven't heard the full OST, I'd recommend you to take a good listen coz it'll serve you good that this is music of substance that's worth an endless repeat.

What a handsome old man!" - Honda-san

If there's any takeaway of substance, I would recommend this short wholeheartedly. I mean, come on, take at least 2 hours off your time to binge-watch this series (which is definitely the way to go), and you'd have a very hard time putting this one down. I almost regretted leaving this series to dust before its end, and I'm very glad and happy to pick this underrated gem up again that is fun, educational, hilarious, and a blast to watch.

I'm gonna miss this short with my whole heart, so memorable!

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Once again, another 4-koma CGDCT adaptation action, but this time, we're off to "chair"...er I mean, cheerleading!

We all know the deal with high school girls, especially when they move on from middle school, and the big deal with Year 1s are always with enrollment...and of course, mandatory clubs to join for their years of high school life. Well, not with one person by the name of shortie Hatoya Kohane, whom by the sight of cheerleading, mentions: "I found something I wanna do, and that is called...CHAIR!" Her childhood friend Uki Sawatari finds it a joke..."Chair" (literally)?

Eventually, this act of kindness (from Kohane) forwards that joke up to experienced-but-frightening Hizume Arima, their own homeroom teacher Inukai (whom she obliges), shy-with-stage-fright(ened) Kotetsu Tatejima (or Kotecchan), and eventually Hizume's old cheerleading group-cum-crush-of-a-teammate Kana Ushiku (through Hizume's bidding). these 5 characters would form the Kaminoki Highschool Cheerleading Club, which is the "create a high school club" archetype, while maintaining the SoL-moe aspects throughout the series.

So, similar to 4-koma manga adaptations is where there isn't really existence of a story (or plot if you will), because certain things will eventually loop the same old boredom once through, then recycles the jokes all over. But, what salvages the series are the characters, starting with the MC Kohane herself. She is kind, she sometimes act like a chirping bird due to the way she converses with the others, and at times attempt even the silliest jokes that turn to regret soon. But what Kohane has going for her is the never-say-die spirit, even when at the slightest amount of cheer for encouragement (mostly Basket-senpai for their school's girls' basketball team). That's where Uki comes in as a mum-like feeling of watching over Kohane as a kid, and also guiding over others and learning cheerleading with everyone else. Not to mention the childhood friend love, it exists here as sort of means of infatuation between Uki's secret desires and the elusive Kohane.

Kotetsu (or Kotecchan) is the shy, reserved one, but does to her excellence when alone. So it's no wonder when she shivers at the thoughts of presenting herself to others outside her comfort zone, and goes into her blank space of thought. But with bit by bit of push, she eventually makes it so that her fear of showcase doesn't hinder her emotions and in direct force, transforms her fear into fun.

Hizume and Kana's on-the-rocks relationship is something worth to take note for. For one, when Hizume was pitched the cheerleading regime once again from hopeful Kohane, her dark past was something of a trauma that she could not shake off, due to insider competition and rivalry, so much so that when she left her old group, that burden of perfection was gone. But now with Kohane, Hizume realized that releasing her old strides and making them new with promises that assure the group can stay motivated, that is where she begins to rally the fun in cheerleading, and even rivals never denying the change that made her a better person (but she constantly fears Kohane's 2nd thoughts of leaving cheerleading, which are damn hilarious). As for Kana, let's just say that her boasting to Kohane and Co. for underestimating Hizume's greatness causes her to have an infatuation, the look-up-to model for perfection, that in turn, directs her love for Hizume in pure Yuri fashion (always nice and funny to see her blemish in hot-red-full facial expression in Hizume's presence). Other than agree-to-disagree, she coaches Kohane and others to do things correctly and give aspiration as means of encouragement.

What I do like about the characters is that no matter their intriguing chemistry with one another, they constantly pull off funny and hilarious one-liners that just doesn't make any logical sense, even if there are a few in-betweens. Hizume's constant fear of casual backlash, Uki and Kana's obsession with their significant others, even Kotecchan's depressional moments, good stuff.

Again, Doga Kobo's aesthetics always pull it off in the simplest but lavishing way possible, and it's nice to see good art and animation that blends very well in showcasing simple story and not-so-complex character designs and the like. A firm nice touch is what this series need, and it's more than enough. Same goes with the music, well, mostly cheerleading music (apart from OP and ED), which again is a nice compliment to the journey of these 5 characters which presents their form and conformance to one another, that despite their differences, they can trust one another and dance to the beat with synchronization.

Somehow lately, CGDCT shows are quite mainstream now, but if you find yourself loving moe-blobs dancing and cheering around like nobody's business, then this show's for you. If you decide to learn cheerleading yourself, this series is also a good place to begin, so get your body moving to "chair"-leading!

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