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May 2, 2023
Solanin's a seinen coming of age story centered around a couple of now graduated band-mates that aimlessly wander their post-graduation phase in life. To some, this period of time may be difficult to adjust to. The leisurely life you had in college now compels you to work 9 to 5 in a job you don't care about at all, with a degree you just randomly chose after drifting along the first few years of college.
Solanin...captures this to an extent. While I empathize with Meiko and Taneda a little bit, to me, the story wasn't particularly engaging or compelling. The manga is largely slice of
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life and really focuses on character development and their emotions, so the entire foundation of this manga is dependent on the reader empathizing with Meiko, Taneda, and the rest of the bandmates' lives and restlessness.
However, what really grinds my gears is when a manga entirely about slice of life and coming of age comes crashing down with dramatic events. Like yes, these events could have happened, but the fact that this manga that tries to ground itself in reality and these sorts of things happening just doesn't sit well with me.
Not that I enjoyed the manga before that happened, but I definitely would not have finished this series if not for the fact that it was a pretty short 29 chapter run
Reviewer’s Rating: 5
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Apr 22, 2023
Kokou no Hito is largely a coming of age story about a young climber, Mori. While it's as much of a story about rock climbing than it is about a psychoanalysis, we can all say that both themes intertwine with each other to create a holistic story. The problem is that the psychological and and coming of age theme are poorly done, while the rock-climbing aspect is much more phenomenal.
Apparently, Mori is modeled after a real life person, Katō Buntarō, and if the manga is true to self, then damn does this guy live a miserable life. I highly doubt that, though. It's
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much more likely a highly embellished story, but regardless, the author fails to create a successful connection between Mori's personal development and his rock-climbing career. Most of the time, you have extremely tragic or haphazard events that happen to Mori in order to stipulate a psychological reaction from Mori. This can be seen in almost every event that Mori comes across. Whether it be his personal past with witnessing an unfortunate suicide, his teacher dying to save Mori, Mori encountering women trying to take advantage of him, people obsessed with him, or him witnessing the death of people that he mountaineered with, it's all very artificial and manufactured to garner a serious reaction from an already reclusive, gloomy person that uses mountaineering as an escape tool rather than doing something about his life and personality.
Unfortunately, trying to construct a coming of age story just doesn't work too well when every event Mori encounters seems to be more like something straight out of a drama. Like, apparently every person that does rock-climbing just happens to have hidden mental trauma and then they unload their trauma right onto Mori before dying or disappearing. There's just too many events being thrown at him and not enough self-reflection. There's nice imagery here and there, and the occasional throw-away cheesy theme of the act of climbing mountains and how you give yourself up to it as you do so, but even after a hundred chapters, I don't empathize with Mori, much less any other character in the story.
Again, onto the good point. The actual act of rock-climbing is great. There's a lot of focus on how people climb mountains competitively, in harsh environments, and how even small mistakes will spell great danger. The sheer willpower and exertion that people take when trying to scale untrodden terrain or routes is clearly shown through the pages. This is done through amazing artwork, paneling, and storyboarding. I only wish that the story was good to pair along with it.
Reviewer’s Rating: 5
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Apr 10, 2023
I've yet to see how you can combine the two very contrasting violence and child-caretaking genres together. The Yakuza’s Guide to Babysitting and Buddy Daddies both try to attempt this, but to complete failure. Yakuza's Guide to Babysitting basically deals with the yakuza on such a surface level that it's barely a subtheme of the show. You can read my review on it, but it's essentially just a fluffy cute show almost unrelated to yakuza most of the time. Buddy Daddies on the other hand deals heavily between the theme of caretaking and the hitman business, but again, it fails miserably because the child isn't
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realistic at all. While Spy x Family might be a counterexample, the show only works because Anya has superpowers, and the intent of Loid isn't to kill, but rather espionage. His purpose is for peace between kingdoms, not for more death. This provides an easy gateway for empathy for Loid. It's not as if he's a hitmen doing it for money, and Anya's not an ordinary child either, and in fact, she fully supports Loid's goal, as it's a just one. It's not dealing with the same themes at all. While I can definitely see how taking care of a child can soften a heart, Buddy Daddies fails to provide with a viable premise and child that can mesh the genres together.
The first problem is the shitty comedy. It's just not funny at all. You can gauge the lowbrow humor from its first episode alone, where a serious scene of Kazuki and Rei killing someone gets interjected by comedy, defusing the serious situation. Haha, isn't it super funny when Kazuki and Rei and bickering about taking care of the kid mere seconds before they kill their target in front of them? Like holy shit this show definitely is not meant for you to think about anything. Or like haha, isn't it super funny when Miri needs to pee right before Kazuki and Rei start their killing mission? haha isn't it funny guys?? This is a recurring theme.
Second of is Miri herself. Okay, I think you have to realize that children are stupid, but they're not in ways that Miri would be acting in. Self preservation is a skill that is deeply and instinctually imbedded in a child's instincts. It's the reason why children, especially in Piaget's Preoperational Stage and below are always attached to their caretakers. They need attention so that they can survive. Miri is four--I just checked the wiki-- so she would be in this preoperational stage. Anyways, I'm not going to go too psychological. All you really need to know is that children can process traumatic events. If they witness someone dying, they're going to know. She literally witnesses gunfight and carnage and doesn't bat an eye. She doesn't even question her fathers about it. It's unnatural. It's not a one time event either. She somehow embroils herself in multiple life threatening scenarios where Kazuki and Rei have to save her by killing the enemies. THIS IS TRAUMATIC AS HELL. IF MULTIPLE PEOPLE DIED AND THEIR HEADS EXPLODED IN FRONT OF YOU IF YOU WERE FOUR, YOU'D FUCKING KNOW, EVEN AS A KID. In episode one, the person she thinks as father, even just for a brief moment, gets his head popped off. Like holy shit. Why? All for the sake of comedy. She has to be there, or else the shitty comedy that I previously mentioned can't happen.
Miri is not a "realistic" kid, and nor is a kid running around clueless and aimlessly in a life threatening gunfight funny either. Overall, just a terrible show.
Reviewer’s Rating: 3
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Apr 8, 2023
Tensei Oujo to Tensai Reijou no Mahou Kakumei lacks any depth because of how discordant Anis is portrayed as a character compared to the actual theme and tone of the other characters.
To put it in simple terms, while this show is an isekai, so the main character should be "eccentric" and different compared to other characters in terms of personality and ambitions, it shouldn't be this drastic. Anis is a typical character straight out of a comedic isekai while the rest of the characters feel like they're in a historical drama. She's a typical Mary Sue (why not?) character and she's a genius in the
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study of magic while also possessing the maturity of an elementary schooler. She lacks any social ability and manages to make everything something comedic and funny. Isn't it super funny when she "lacks common sense," does something stupid, and everyone else reacts? Haha!! While this doesn't seem that bad if the show wants to be comedic, the show is definitely trying to be serious.
In every scene Anis is not in, it's pretty serious, dialogue-heavy, and more somber. Then immediately, when Anis is in the scene, it deflates into something "funny." Euphyllia, for example, the love interest, is a very serious, straight-laced person that has real troubles that a real person would empathize with. The position that she's in troubles her, and she's in inner turmoil. Her monologue and her personality reflect more of a drama and serious story, as do all of the other characters. Then, Anis is more like an OP character that's just there for comedic relief that just decides to do whatever she wants that others wouldn't be able to do due to their lack of OP ability, status, or knowledge.
I believe Anis becomes less cringe and also leans into the drama-heavy plot that comes later down the line, but who the hell cares? The premise of the show is shit, and so is the beginning. It's hard to find a show to have any depth when the main character tries to be super funny and "lack common sense." When she picks up Euphyllia on a whim and it turns out she's romantically invested in her, you know the show is just deliberately trying to make her facetious, trying to comedically interject into serious events. If you want a drama/romance story in a medieval swords and magic world, don't set your foundations upon a blatantly flippant OP main character that constantly breaks the tension of the story, only for it to turn into a more serious later on.
Reviewer’s Rating: 3
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Apr 8, 2023
Handyman Saito fails miserably as a comedic slice-of-life show. The comedic setups fall too short and the scenes go by lightning-fast. Not surprising, considering that the source material is 4-Koma-like: each chapter is only a few pages. I might have laughed at one scene of the many attempts at the show trying to be funny. However, as much as I was disappointed with the comedy, the more serious parts of the story really carry the show.
I thought this show to be like Saito himself: jack of all trades, master of none. The show tries to be funny, be serious and has its hand dipped in
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romance as well. As a result, none of the themes really would stick. I was thankfully proven wrong.
The serious, continuous storyline is actually better than most isekai shows out there. It's actually funny how good it is. The villains have much more characterization than a typical hero's journey story regarding a hero and demon king, and the characters themselves are eased into the story as it goes along. The show does a much better job at converging storylines than Odd Taxi, and all of the characters that you see in isolation eventually come together to form relationships with each other, and that's truly satisfying. The best thing about the show is that it doesn't just shove in a random tragic backstory onto an unknown character and call it a day, but like good storytelling, the show introduces the characters' personalities and it's only much more down the line will you be introduced to the backstory of each character. By the time the flashbacks happen, you already like and know the character enough. The pacing isn't slow or fast, and there are always going to be character arcs that flesh out all of the characters.
While each chapter in the source material is very short, you can easily create a continuous storyline if you just extend it over many chapters as this author did. And it's a good thing that he did. The episodic comedic shorts are quite unfunny like I was saying before, but the converging storylines between each character as a climactic meeting and fight comes along is quite good. The animation for the fight scenes certainly hides hard-to-animate details, but it actually is better than most isekai fight scenes. It truly isn't that bad, even with some animation shorthand and time saves.
It certainly does get a bit cheesy when Saito decides to let someone go after they try killing them, and it's also cheesy when the villains get to live and redeem themselves, but it's not just like Demon Slayer where a tragic backstory is slapped on somebody and they die. Some villains die, some villains redeem themselves, and they all have some sort of backstory that you get to listen to. It's not an obligatory flashback like in Demon Slayer, but one that actually puts the morality of a person into light and not just an afterthought. Overall, much more well done in terms of characterization, moral resolution, and realism compared to a vast majority of Shounen shows that try their hardest to do so.
A continuous story obviously means continuous character dynamics and plot. The romance, while slow-burning, isn't just hundreds of chapters of nothing happening between Saito and Raelza, but rather, the romance actually progresses. The romance isn't super cringe, and it's definitely more natural than I would have expected. The character development of Saito in general is much more realistic than I would have expected. He isn't some cringe JP protagonist that whines about soy sauce and rice from his homeland, nor is he particularly homesick. The issue between his wanting to come home and his wanting to stay with his comrades in his current world is clearly explained and delineated: something that again, serious isekai shows fail to do miserably. Saito isn't some transported guy that gets shunned in his new world before "discovering" his OP af abilities and attends magic academy with his harem of girls, but rather just a handyman that wants respect and acknowledgment, and is given it in his new party. Each character has a realistic and deep profile that you can explore as the episodes go by. Other than Saitou, Morlock's personality and past are also heavily scrutinized by the story. He has to face his past, look at the present, and has to acknowledge his failings and accomplishments to go on in life. A surprisingly deep character arc for a lecherous geriatric man.
If this show went all in on the continuous storyline, I would have easily given it a higher rating, but as it stands, the episodic shorts are just too unfunny for me to care. The lack of character development in many of the side characters, including even Lafanpan and a little bit of Raelza, as well as the excessive amount of comic relief characters (mainly the dwarf; the king and his entourage are actually the funnier ones), could have been avoided if this show focused completely on its story and worldbuilding rather than it's unfunny episodic segments. If you're only looking for a comedic isekai, there aren't many, but this definitely isn't one of the good ones. Take a look at Eminence in the Shadows, konosuba, or meikyuu black company, as they actually have decent comedic scenes.
Reviewer’s Rating: 7
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Apr 3, 2023
High Card's story is about a standard 52 deck set of cards containing magical powers. Once you gather all 7 Dragon Balls, you will have your wish--whoops, wrong show. Seriously, though, the story is just too generic for me to care about it.
There was a lot going for it. The animation and art style is quite nice. Some fights are just done off screen, but the fighting scenes that the show decides to animate aren't bad at all. The colors, cuts, and choreography are all definitely above average. This show was not lacking in budget. The protagonist is charming. He's got a super
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boring backstory about being poor and resorting to crime to make ends meet, but his personality really shines through his actions in the first episode. He's a decent guy, but willing to take risks when opportunity strikes. The pilot episode, other than the beginning--which was just useless flavor text--really caught my attention and introduces the world and main character in a bombastic sequence of events. Then there's the 52 cards. Each card contains different strengths, weaknesses, and a unique ability. The show really could have been cooking up anything. A battle royale consisting of all 52 card holders or really just different card holding organizations vying for cards in an everlasting power struggle of turf wars. I had high hopes.
Instead, you got "good guy organization" vs "bad guy organization." What's even the point of watching something like this? I don't care what the demographic is meant for or the fact that it's graphic sometimes, it's a fucking shounen show. The protagonist just gets thrown into a random "good guy organization" and the rest of the plot is just "good guys" vs blatantly bad guys that kill people. So original. Even the likes of characters like Chris aren't that bad, but they just get completely ruined by the story direction. Like haha, Finn is a good guy. Don't believe me? Watch him save a stranger to prove his good-heartedness. Aren't you glad he's a good guy that has superpowers than the bad gang guy that has superpowers that kills people for fun and ruin peoples' lives? Then there's Leo Constantine. Isn't it super cool that he's got daddy issues and how he doesn't care that his father ruins other people's lives by gouging small business with a complete monopoly in his industry while probably openly "lobbying" government officials? I completely made up the last part of course, but it's true that episode 3 talks about his father gouging small businesses, and how Leo states that "only the strong survive." Using a hyperbole as an example, doesn't that mean he tacitly agrees that strong people should be able to kill weak people, like the bad gang people? Isn't it funny that the small business owners that got bankrupt eventually are colored as super bad, maniacal guys that murder and kidnap and then the good guys are part of the rich organization? Wow, such a coincidence. I looked up Pinochle to see if it was an actual company and it was sponsoring this show, but no, it's fictional. Considering how Finn comes from a poor background, I was expecting him to be a lot more empathetic and question his loyalties or something, but nah, he's just happy to serve.
Anyways, regardless of my rant, this show really is just a generic shounen trope-filled show of a mess. Everything about it is pretty good, but the fact that the show is "good guys" vs "bad guys" is super cringe.
Reviewer’s Rating: 5
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Apr 3, 2023
"Shallow" doesn't even begin to describe how unbelievable cringe this show is. Anne states that "the thought of marriage...living as someone's wife...I want to live my own life!" A solid two and a half minutes later, she basically falls in love at first sight. Hey, don't worry, we're just going to insert some insanely hot guy as a slave for an adolescent girl that's attracted to him. The premise around the fantasy setting around fairies and them being enslaved by humans is used only for an excuse for Anne to eventually own a hot guy elf slave for the romance.
I get that this show isn't
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actually trying to analyze the morality of slaves, war, and human nature and it just wants to get away with some soppy romance/generic fantasy story, but still. Anne is supposed to be a "strong, independent, woman," yet the first thing she does is purchase an elf slave (a practice she apparently hates) to protect and escort her. She even pays the slave trader to fuel the industry even more. Seems kind of like the show throws any reason out the door.
Reviewer’s Rating: 3
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Apr 2, 2023
Is it a sin for a show to do exactly what it advertised? If so, Revengers does deliver on it's title and synopsis and bears no sin.
However, to anyone that does not want to watch a pitifully shallow and generic show about revenging random people in an episode of the week format, I would go elsewhere. To preface, I actually don't mind edgy shows like these, but Revenger really lays it thick for how lacking in substance it actually is.
For a show about Revenge, I don't empathize with the victim. Isn't that the whole about why revenge is satisfying? I can't even empathize with the
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main character's personal story arc about revenge, so how can I ever empathize with the clients that he deals with? It's sort of like a detective conan case where there's a victim, and conan solves the case as per usual, except it's the main character's entourage performing an act of revenge for a suffered party each episode.
The story goes nowhere, but what about the characters? They're all cringe. It's so cringe. The story humors itself to try to be a little philosophical or deep, but in reality, it only accentuates how shallow it truly is. There's a kid that tries to be edgy and "would have killed [Usui]" if he answered different to her expectations. The characters are just unnecessarily edgy.
The whole symbolism with Christianity and tying it with the Revenger theme is not only edgy but super cringe. There's a surface level quote from Deus regarding revenge that the show bases itself on: "Those who shed the blood of life shall meet with my revenge." First of all, I don't even think this quote exists. I looked it up, and while I don't have much of a theological background, I do not believe God ever says this in any of the testaments. Not only is there a cringe quote about revenge that gets tied into the theme of the show, there's also the pastor of "revenging" who tries to preach and act all deep about the themes of revenge. Whatever, but then you also have Usui saying his shitty quote about God whenever he kills somebody. Don't worry, you'll also see Mary being tattooed on his back for good measure in case the viewer didn't realize the Christian themes yet. Plus, tattooing Mary and using her name in place of God could be considered a major sin in itself. Usui uses Mary as a witness to his victim's sins, not God in his reverent chant: "Before the eyes of holy Saint Mary...repent." Yet In Exodus 20:4–6, it states that “You shall not make for yourself a carved image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. You shall not bow down to them or serve them, for I the Lord your God am a jealous God." Seems like carving a tattoo of Mary on his back and worshipping Mary could be a sin in itself! Well, if the show bothered to give any damn about the Christian theme, perhaps it could have tackled any of these issues I brought up, but no, the show never does.
Unlike Alexander Anderson from Hellsing, which was a nice character that figuratively interprets Bible quotes that actually exists while also using it as a gateway to his distorted mind, Revengers is a shitty edgy show that tries to borrow Christianity to create a dichotomy and theme regarding the holiness of the Bible, God, and the Church and the act of revenging or murder.
Much like how the revenging is done without any bouts of empathy from the viewer, the loose and shallow theme regarding Christianity and tying it with the show is also poorly done without much thought or time spent on it. Just like how the MC's personal revenge arc is a mere segway into him joining a group that revenges other people, so is the Christian theme and characters.
Reviewer’s Rating: 4
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Mar 30, 2023
There need to be more shows like Hikaru no Ou. Too many shows are cookie-cutter trope-filled BS that appeal to the general public. Not enough shows try to do something new for once. where you don't have overly moe, cringe, ecchi, rom-com, etc tropes to satisfy the audience.
No, unlike these generic shows, Hikaru no Ou is atmospheric, and slow-paced, with an amazing art style and storyline. All on a low budget.
Hikaru no Ou is an atmospheric show that lets the audience take in the world with stride. While it may seem slow-paced, there's purpose and meaning to every action. When people walk through the forest,
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the viewer gets to see through the creepy atmosphere and the fear of the unknown as to what lurks in its depths. Whether it be people talking, the simple act of moving around, scene cuts, or the simple task of eating food, the show is either worldbuilding or letting you know each character with its deliberate framing. Hikaru no Ou is filled with mystery, and the worldbuilding slowly lets the characters know the nature of everything. Even when there are times when characters explain what's going on, the show teases you with only small bits of information. There's no true info dump: the show exposes enough to understand the world, yet also lets you wonder about what's going on. Compare this to something like Haibane Renmei, where the show is just slow for the sake of lowering the budget. In this show, the slowness only accentuates the show and its environment.
The story is just a perfect execution of how converging storylines should be played out. Both characters don't know each other and are left to their own devices. There's a vague connection between them, but for the first half of the story, you get to experience them in their own environments and because of their largely different circumstances, you get to know the world through two lenses. Not only does this allow you to understand the world better, but it's also that much more satisfying when the characters meet up. It's not some Odd Taxi gimmick where a guy just "randomly picks" the MC's taxi car and bam, converging storyline. This show puts the characters in isolation, and it's only when you get to know each character do they start interacting with each other. There wouldn't be nearly as much impact if you were only introduced to one of the characters. You'd be watching characters that you just were introduced to that start influencing the plot. Instead, you have indescribable weight and empathy when Touko and Koushi bond over their common connections.
This links up to the faster-paced developments where everything that you've learned about the story converges. Tree people, the enma, fire hunters, sky-fire, Gods, deities, and the Flickering Flame. The slow-paced development in the beginning slowly starts to snowball into something big, and yet, it's not too fast. You're not given cheap plot twists to get some dopamine thrill, but rather, the clues that the show gives finally start to click together. You start to realize that certain things that were brought up start to make sense when Touko and Koushi interact with each other's circle of people.
And the pacing and art style only accentuate this atmospheric show. The art direction is phenomenal. The backgrounds are gorgeous, and the characters are realistically proportioned. The eyes, face, hair, and clothes of each character try to be realistic and less moe cringe. I'm sorry you don't have wide-eyed, pink-haired protagonists, but instead, some more true-to-real characters that are struggling to survive and find out the world's mysteries. The color tones are more muted and suited for the dark world that Touko and Koushi live in. There's no high-pitched girl that over-exaggeratingly cries out at cute dogs, nor is there some soppy romance. There's no shitty comedic manzai interjection that tries to lighten the mood of the plot when there is no need to. Even the main characters aren't any "chosen ones" with special powers, rather, they are at the whim of the greater powers. They can only try to influence and do what they can when they can.
It's just a shame that the show got screwed over by budget. The animation, when it counts, is super jank. I do admit that. There is not crappy CGI when it comes to characters, and the CGI on vehicles looks pretty good. The problem is the animation when people start doing a lot of movement. The choreography of the fights sucks. The animation looks weird, and even when people are running around, it looks weird sometimes. There are times when one-frame detailed storyboards are freeze-framed in place of actual animation. The fights when fire hunters fight enma don't look good. Of course, with how the OP looks and sounds, you can't tell me that this studio can't animate. Yet, even with these flaws, the art style, soundtrack, pacing, scene cuts, framing, and color tones combine to become something gorgeous. Yes, the show also suffers from certain pacing issues. Kun is barely characterized, and it does feel like the latter half of the show is rushed. I'm sure this comes with the 10-episode limit and having to cut down on the source material.
Even with these potentially devastating flaws, the intriguing converging storyline, art-style, and potent characters create one hell of a show.
Reviewer’s Rating: 7
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Mar 27, 2023
This show would have been better if it was just an edgy MC mindlessly killing tsukumogami to find revenge with some sort of perspective changes between characters or something. Instead, we have a very typical shounen show that doesn't try to do anything interesting.
How do I say this? The whole handing of the situation around Hyouma is just shallow and without any depth. There's not much empathizing the grandfather gives or takes on, and instead he kind of just throws the emotional baggage towards a "good guy group" of Tsukumogami in hopes of reforming him. I'd say Hyouma already has a pretty good head on
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his shoulders, with mental stability to boot for a guy that witnessed his siblings get murdered in cold blood by Tsukumogami, yet his grandfather doesn't understand that. The show doesn't. Hyouma's treated like an anomaly and a brat for not "getting over" his hatred for Tsukumogami, which is completely normal phenomenon considering his past with them.
There's no attempt at an in-depth analysis of emotions, memories, and psychological trauma. This gets reflected in the dialogue and characters. There's unfunny and awkward attempts at comedic dialogue, and the master of the house that Hyouma gets sent to is similarly emotionally immature despite having such command over powerful beings. In the end, the focus on the show is more about battles, slice of life, and romance and whatnot rather than any actual depth. The story goes nowhere, and it's a generic story about "good guy organization" vs the "bad guys." Another typical shounen battle show that tries to incorporate edgy themes and doesn't try to actually integrate it into the plot at all.
Reviewer’s Rating: 3
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