Original anime are some of the more interesting in the medium to examine critically. Since there is no source material to keep the on-screen product anchored in place, the approaches taken towards original stories have tended to be hit-or-miss due to having to tell a complete story at a much quicker pace. Guilty Crown is one of the most popular original anime on the site when looking at the numbers, but its rating is a bit disproportionate to that popularity. In this review, I’ll provide some insight as to why I find this may be the case. Let’s begin.
The general narrative is post-apocalyptic and anti-establishment
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in tone and messaging but at the core, this is an action sci-fi that takes place in the near future. When looking at the general flow of events, there are two inflection points where the story really changes shape. The first is at around the usual half-way point but the second is only a few episodes after that. To avoid spoilers, I won’t get into the specifics of what exactly happens at those points. The first half takes from many genres and lays down a story with lots going on. There is some action, some sci-fi, some drama, some romance, some coming-of-age, and even some fan service. Not every event that goes on makes sense and it takes a while to clearly define some of the characters’ roles, but the story moves forward reasonably and the breadth of events means there’s a bit of many different things going on. There are some issues though. The pacing is pretty quick. Though events make sense, they sometimes fall flat and/or are not properly explained. Events will occur in ways that seem like they can be reasonably explained, but said explanations are often either given too indirectly or not given at all. Annoyingly, though such events themselves and their causes are not that predictable, what is predictable is that the explanation follows shortly after an event occurs. In the worst case, there are some reveals where the only hint towards them is an indirect hint dropped 5 episodes ago with no reminder of that hint when the reveal occurs. That particular case did not happen often but did so with important enough plot points to be noticeable. Devices that anime use to catch viewers up with the story are not used enough here, potentially leading to some strong disconnects with major reveals and plot points. Since many of the events in the first half did not really need too much deeper context, however, these problems were not as flagrant as they end up becoming later on.
In the second half, and especially in the final third, the story flips on its head, becoming much more character-driven and the post-apocalyptic themes become much more apparent as the lore takes center stage. Unfortunately, this is where many issues with the story composition and general flow of events become the most apparent. The pacing, which was somewhat decently quick in the first half, slows down for a bit following a major climax, but then moves way too fast in the final third. Due to the back third also being the most lore-heavy in terms of the story and mechanics of the world, this is a severe problem. These issues are compounded on top of those that were already happening since the beginning, resulting in a lot of incoherence and plot holes. It could be argued that the breadth of topics covered in the first half result in this issue, since a lot of that time could have likely been better spent focusing on these later plot points. The last 3 to 4 episodes spend so much time answering questions that should have been discussed more or at the very least been more directly hinted at much earlier in the series, which leaves no time for the final plot points to ruminate. This is especially the case with the ending. On its own, it is a decent conclusion, though not without several unresolved questions. The main issue is that the message, the point of why things happen the way they did, is never fully shown or even talked about amongst any of the characters, main cast or otherwise. They show the very basic aftermath of things and that’s simply that. In the end, it feels as if this anime got caught in the two main traps that many original anime fall into: (1) spending a lot of time building up the characters and general landscape while failing to do so with the narrative, resulting in (2) a slippery slope so steep that there seems like no pleasing way to stick the landing.
The characters are good. Shu, the MC, is a point of controversy among watchers and reviewers. He is immature, reckless, and contradicts himself very often. Quite simply, he is not very likable. That said, especially in the beginning, these aspects are intentional. Many of his associates and even his closer friends constantly remind him of his weak points. His development does happen but it’s not paced consistently enough to be enjoyable. As the synopsis lays out, he is thrust into the events of this anime by complete accident. He acts like a child who believes he knows what he is getting into but constantly comes to realize he really does not, whether it be through him seeing it directly or having it impressed upon him by someone else. That said, while the points of contention around his character are important to keep in mind since it is not the most enjoyable experience as a viewer, having the context of realizing that is how the viewer is supposed to feel is still needed when looking at Shu critically. The rest of the characters are fine, if not a bit unremarkable. If anything, there are maybe too many of them. Inori, the main girl, is the driver of most of the romance beats, though she doesn’t do much of that herself directly. Her relationship with Shu goes through a lot of phases, keeping it from getting stale. The quiet moments between the two are some of the few moments viewers get to sit back and take a breath in the back third. Gai, the third MC, is a somewhat generic anti-hero badass in writing, but the execution is done well. It helps that his true motivations are actually somewhat unique especially when completely laid out by the end. Funeral Parlor is a fun group with sympathetic motivations, with getting to know them being a highlight of the first half. Shu’s friend group at school is generic, likely intentionally so, but also not bad. The larger roles they end up playing in the story are unexpected but still mostly interesting. Though the political nature of events is the main thing that gets muddied by the final third’s breakneck pace, there’s a decent amount of time spent on the bad guys as well. The relationships between the protagonists and antagonists appear to be pretty complex given who is involved, like Shu’s mother for example, but the actual aspect of that is not covered consistently enough.
Unfortunately, the issues with the back third extend to the main cast as well. There just is not enough time set aside to let things marinate, to let Shu and the characters really evaluate things and lay out responses that allow for viewers to connect with them. It is not as much an issue as it is with the story, but that same ‘falling flat’ feeling shows up in a noticeable amount of character interactions. Shu’s arc also suffers due to the pacing. In the first half, viewers will see a lot of and may grow weary with Shu’s hesitation and indecisiveness but he does grow out of it just a bit over time. In the second half, though, Shu’s gradual development up to that point is wholly discarded for a pain-train of suffering that is even less enjoyable than his childishness in the first half. Though his motivations do make sense as to why, his character does a complete 180 in a single exact point in time, a maneuver that instantly snatches away any depth that he has up to that point. In the first half, while he is not likeable, he is consistent. In the second half, he is dragged, pushed, and pulled in so many different directions that viewers may lose sight of his core. Though his arc is decently resolved by the end, the weight of the resolution is not there, mainly due to the aforementioned pacing problems.
When looking at the early 2010s, most viewers will be hard pressed to find a better audiovisual package than what is shown here. Even though this anime is one of Hiroyuki Sawano’s earlier works as lead composer, the level of quality you expect from the name today is present from start to finish here. The OST is equally bombastic and exciting as it is somber and brooding. The first OP, My Dearest, is an all-timer. The voice acting is top-line with many household names tapped in, including Yuki Kaji and Ai Kayano as the main duo. I mentioned earlier that Shu is an inherently controversial character, but a lot of that also has to do with Yuki Kaji’s performance as Shu being so effective in relaying his hesitation and other negative aspects to the viewer. Ai Kayano’s performance as Inori was also pretty good, but she doesn’t get to use much of her range often given how soft-spoken Inori is.
Visually, this anime is fantastic, especially when looking at it from the perspective of the time period it was released. The art and animation have aged wonderfully. The art style and balanced color palette feel almost too reminiscent of late-00s/early-10s designs, but the quality is nearly unmatched for the time. Character designs are kept realistic with a few exceptions and are clean and consistent the whole way. The city landscapes they show, while lacking a bit in color, look very good and contribute to the near-future vibes. The sci-fi elements are all a bit tame though. The effects of the Void system are very dynamic but those effects and also those of the Apocalypse virus are lacking just a bit in color. In addition, though this is advertised as a mech anime, it doesn’t really feel like it much, because the mech designs typically look too generic. Still, the mech’s movements are animated very cleanly with no noticeable blemishes or 3D smoothing, so it’s not all bad in that aspect. As a whole, action set pieces are brilliantly animated. The Void system makes for some very unique sequences and gives a decent variety to the fight scenes.
In all, this anime is another entry in the long debate of how much great animation and sound can (or cannot) bail out an inferior narrative. Since this is a controversial topic, this is naturally a controversial anime, though it certainly has numerous strong points. The art and sound are top-notch. The direction and narrative at their roots are very cinematic. The breadth of genres this anime gets into is very wide as well, making for a good variety of story beats, though it could also be argued that is the root cause behind all of the narrative issues that compound as the series progresses. What starts out as a relatively accessible and enjoyable post-apocalyptic coming-of-age action drama, to its own detriment unfortunately, devolves into a rush of ideas and events in an attempt to tie everything up, which it fails to properly succeed at because the pacing is simply too quick. While the overall story and landscape of events is interesting, the progression of events involving this cast of characters is too haphazard and too abrupt. It is not too much better or worse than the average original anime, but it is still a shame to see. If you’re expecting a deeply character-driven story, there are some elements of that here but it is better to look elsewhere. If you are an action watcher and place high value in animation and music, there is a lot to like here. Overall though, it is hard to give a general consensus recommendation. To this anime’s credit, it has loads of style, even in terms of its story, but it lacks the substance and depth needed for a viewer to truly resonate with it, making for a watch that feels shallower than it ought to have been.
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Nov 29, 2025
Guilty Crown
(Anime)
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Mixed Feelings
Original anime are some of the more interesting in the medium to examine critically. Since there is no source material to keep the on-screen product anchored in place, the approaches taken towards original stories have tended to be hit-or-miss due to having to tell a complete story at a much quicker pace. Guilty Crown is one of the most popular original anime on the site when looking at the numbers, but its rating is a bit disproportionate to that popularity. In this review, I’ll provide some insight as to why I find this may be the case. Let’s begin.
The general narrative is post-apocalyptic and anti-establishment ...
Reviewer’s Rating: 6
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Aug 28, 2025
BanG Dream! It's MyGO!!!!!
(Anime)
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When first drawing up the third generation of new bands for the Bang Dream franchise, its staff was looking to turn a corner with the stories told through their bands and lay the groundwork for a tonal shift towards "more realistic" storytelling. The result of their new approach is this entry centered around MyGO!!!!!, one of three said new bands. With it comes a broader appeal that has reignited the popularity of the franchise, increased its accessibility, and put itself in stride with the music anime boom that has occurred over the past few years. How does this come to be? This review will aim
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to address the impact it has had on its parent franchise and music anime as a whole. Let’s begin.
The synopsis immediately gives notice of what makes MyGO’s story different from any story in the franchise before it. Writing an event like a band break-up that permanently alters multiple characters’ trajectories and arcs is a stark contrast to the more conservative stories the franchise has churned out over the years. Here, the breakup is a multi-layered event that no one character perceives the same way as another, resulting in a complex character-driven drama. In terms of MyGO’s formation, it is a rocky path. From the beginning, tempers flare, words are misconstrued, and feelings are hurt. Characters’ actions are strongly felt and reverberated through the directing as well as other characters' reactions. Many of the more tense scenes do a good job displaying the weight and impact of those actions and words, a key component to telling a good drama. Still, this is not the most bombastic of such dramas, instead being a bit more of a slower burn. Most of the more drawn-out story beats start vague, with hints sprinkled here and there on the way to larger buildups and reveals. This approach rewards paying attention to the details and reading between the lines, but it can also catch viewers off guard and create a feeling of a rug pull. This can especially be felt with some reveals at the climax of the narrative and towards the end of the series. In addition, though it is not always obvious, casual thoughts and conversations more often than not end up being used as tools that give information, so there are many slower scenes that actually have meaningful intent to them. Due to that, there is significantly more ‘show’ than ‘tell’. It will likely take a full second watch to catch all of the details as they are laid out in real time. That in itself is not an inherent flaw, but that style of storytelling may not appeal to everybody. Since MyGO’s formation is the main storyline, its members are naturally the cast we spend the most time with. The balance of more showing vs telling is also very noticeable when it comes to getting to know them. It takes time and close attention to clearly understand how and why they all get together. Even then, sometimes, it is not easily clear. Like with the narrative, viewers are rewarded for getting invested with the characters and focusing on the details, but there are several instances where certain aspects of the characters could be laid out a bit more thoroughly. Something that is very much apparent, however, is that every member has at least one deeply-baked flaw to them. No one is written to be particularly likeable, and that is the beauty of this cast. Though any one character may broadly come off as reasonable, their unfavorable side naturally comes out through their actions. This holistic approach has been common practice since the very first band, but the execution with MyGO is slightly different. The negative traits shown here, such as vanity, stubbornness, and generally being a step slow communicating, are more strongly highlighted compared to past stories, but they are easily relatable and written realistically. Most of the drama involves the characters clashing with each of the others' unfavorable sides. It is written in such a way that when in the same room, they are all foils to each other and are almost never on the same page. Even after putting aside some conflicts and becoming MyGO as we know them to be, the relationships between the members are shown to be complex. Like with how everyone interprets CRYCHIC’s break-up differently, every one member has their own motivations for joining MyGO that aren't so easily understood by the other members. As mentioned at the top, there are multiple layers to the initial break-up described in the synopsis. Unfortunately, not all of the layers are equally addressed. These 13 episodes do not do the best job of resolving every issue. The lack of a discrete resolution is this anime’s most significant flaw. That said, it happens for a reason, but understanding that reason requires some context of the greater direction the franchise is going. Though this anime is listed at 13 episodes, only 12 really center around MyGO. On its own, episode 13 is clearly out of place. Here’s why that is. From its conception, MyGO was initially drawn up to be a part of a dichotomy with another new band. The two bands were seen as so unique compared to every other band before them that it was originally planned to place them in a separate spin-off universe, but that decision was scrapped during production. That second band is covered in the sequel season to MyGO, with a lot of their setup coming in episode 13 of MyGO. While MyGO’s arc is at a good enough stopping point by that time, there are still some questions that do not feel completely answered. As MyGO is one of Bang Dream’s “live bands”, the voice actors were recruited on the basis that they could perform the songs live consistently. Thus, four of the five leads are fresher faces with little accreditation. Still, they put in a good effort. In terms of those four, Mika Kohinata’s performance of Soyo was particularly impressive. While she doesn’t show much of a natural range, she does show the ability to effectively tackle the many different facets of Soyo’s character. On the other hand, the vocalist is voiced by a more renowned name, that being Hina Youmiya. Though her energetic performance as Anna Yamada from Dangers in My Heart is her most popular work as of time of writing, she reaches the exact opposite end of her range here, as the quiet, eccentric Tomori. The softer alto she sings is one of the most distinct elements of MyGO’s music when compared to other music anime, including older Bang Dream bands. In terms of MyGO’s music, “melocore” is the general aesthetic of choice. The OP, Hitoshizuku, is catchy and gives an interesting contrast to the general mood of the anime itself, while the ED, Shiori, has a more somber sound that, while uncommon in MyGO’s music, fits better with the tones of the anime. Tomori’s softer singing voice and emotionally-packed lyrics work in juxtaposition with the faster-paced, more aggressive instrumentals to create a sound that still feels very J-rock, but approaches the genre in ways not seen in band anime to this point. The incorporation of spoken word into the lyrics is another unique draw, which the anime does a good job with incorporating into Tomori’s character and the story overall. Most of the OST is average, barring one very significant exception. “Haruhikage” is one of the most impactful songs the franchise has ever composed, with performances of it in the anime being some of the anime’s most memorable moments. It is also one of the most important in terms of the narrative, as it symbolizes the impact and complexities of CRYCHIC’s formation and fallout all in one fell swoop. Visually, things are pretty good. Off of the backs of seasons 2 and 3 of the main series, SANZIGEN returns and the quality is similar to those entries. Also like said previous entries, MyGO is “full-CGI” with some bunches of frames and slower scenes drawn in 2D. Since SANZIGEN specializes in in-house CGI, it is natural that the CGI here turns out quite good. Both the 3D and 2D art styles look good on their own, but they do not operate in absolute perfect tandem. There are rare sequences that involve quick transitions between the two, and those can come off as a bit jarring. Though it's a different art style compared to the main series (most notably, the star-shaped pupils are gone), MyGO's designs are clean and their outfits are fashionable and distinct without feeling overly intricate. There is a slight X-factor stemming from the directing as well. The use of first-person perspective and fixed camera angles throughout, which feel innovative without being used too often, are particularly worthy of praise. The performances, which are fully 100% CGI, are not stunning but look good. They feel dynamic in that the expressions and mannerisms of the performers are clearly displayed and are deliver well on the emotional impact stemming from the music. There is a bit of choppiness with some of the movements, but nothing looks distinctly out of sync. Many longer time fans may not see the story of MyGO as reinventing the wheel, but here we find the most widely-appealing execution of the strengths that the franchise has honed over the years: the dramatic style of directing, the emotional impact of its music, and the human-like aspects of its characters. When put together, it is a package that is both something new for long-time fans to enjoy as well as a solid gateway into the franchise and just generally a high-quality music anime. It features complex, layered drama that, though not completely resolved by the end, is not lacking in tense climaxes and emotional moments. The approach to the character writing centered around the intentional and realistic depiction of characters' vices gives a natural feel to said drama as well. MyGO’s music, while not groundbreaking, has unique traits and generally has a good quality. The visuals fit the bill and match the quality of what preceded it, with some of the better CGI in the medium. Though the “Bang Dream” name being attached to this anime might mean it will only be found by those who are searching for it, this is an essential anime for any music anime enjoyers.
Reviewer’s Rating: 9
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Jun 20, 2025
BanG Dream!
(Anime)
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Mixed Feelings
As popular as rhythm games are in Japan, Bang Dream is one such franchise from the genre that is reaching an impressive new high in popularity as of the time of writing, both in Japan and here in the West, with its 10th anniversary just about 9 months away. Many will agree that the introduction of the third generation of bands into the franchise and their respective anime, those being MyGO!!!!! and Ave Mujica, are the main driving forces behind this, though there has also generally been a recent boom of ‘girls band’ content in anime so far this decade. Such anime are not the
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focus of this review (though I would love to write one on one or both of them in the near future), instead it being the original anime that came out in 2017 with the aim of widening the reach of the franchise while it was still new to the scene. Let’s begin.
This first season of the anime adapts and expands on the first chapter of the in-game band story of the franchise’s first band, Poppin’ Party (PoPiPa). Here we are introduced to the 5 characters that pave the way for the franchise, as this anime covers the story of the band’s formation and they get the full focus across all 12 episodes. As with most shows like this, the character interactions drive things forward. The meat of the story here is how the band comes together. Each character coming into the band gets an arc spanning a few episodes before a bigger conflict involving the whole group comes into play for the climax. By design, they all come together with just enough hitches to keep viewers the slightest bit on their toes. There is some external drama, but the band hardly faces much meaningful internal conflict. Everything comes and goes relatively smoothly, regardless of how severe the directing tries to make high-stakes moments seem to be as such. It makes for an easy watch, but in the same breadth, it’s not as easy to get invested with the group as it feels it should be. The narrative generally feels too conservative, both in terms of the actual content in the anime itself and the approaches to said content. There are some easter eggs sprinkled throughout that point towards the other first-generation bands, but it is not until Season 2 when they are brought into the story. This is a letdown, as only one of the 5 total first-generation bands sees significant screen time. Though PoPiPa is the most significant in terms of the overall story spanning the entire franchise, missing out on the variety brought in by the other groups is a loss of one the franchise’s bigger appeals, which especially hurts given this anime meaning to serve as a first impression of said franchise. A lot of viewers’ enjoyment from this anime will likely come down to how they view the dynamics of PoPiPa’s members. Like with the story, it’s as peppy as one would expect. Kasumi, the MC, moves at a bit of a different speed than all the other characters, which the synopsis conveys well. She is the perennial poster child for the franchise, but newcomers may likely be turned off by her character. Her reckless ambition, bombastic positivity, and near-total disregard for personal boundaries set a strong tone that can easily be quite overbearing at times. When considering those elements in terms of the band’s dynamic, however, her unique motives and personality are the glue that keeps them all together. She is a force of nature all by herself, as her actions directly progress the story and character developments more so than any other character. Apart from Kasumi, it is the same conservative approach without much embellishment. None of PoPiPa’s other members feel too unique or too bland, and all have a decent balance of likeable and unlikeable traits. For better and for worse, they all feel like typical high school girls with typical high schooler mannerisms and conflicts. While it isn’t the most unique or interesting writing, the realistic aspects make it easier to see the characters for what they are. Introducing a character first through some tropey or odd side to them followed by throwing in a starkly-contrasting human element, usually in the form of some sort of personal struggle or a deeper relationship with another character, is the main approach to the character writing here. This method is used often in Season 2 when other bands are introduced, and is even still being practiced today with the newest bands, but I digress. Such human elements often come off as quite relatable, but in the same vein, the directing goes all-in with them, making them seem a bit melodramatic on occasion. Again, not having the variety from the other bands hurts a bit, as one of the biggest draws of the later seasons is how the bands all mix up with each other. Still, PoPiPa is a fun bunch, if a bit shallow, that bounce off each other nicely, so what viewers get here is still not bad. The corresponding story in the game is fully-voiced, at least in terms of PoPiPa and most of this story’s other major characters. Here, all of those original VAs return, and others are brought in to fill in the gaps that aren’t in the game. Kasumi is a cliche type of character that is presented in a unique way, and Aimi’s exuberant performance is what gives Kasumi’s characterization some of that secret sauce. Apart from Kasumi, the performances for the other 4 members are good but nothing really special. PoPiPa’s music consists mainly of a pop-rock sound that takes some inspiration from idol music, as all 5 members’ vocals bounce off of each other often in their songs. The OP, Tokimeki Experience, is one of the more iconic songs in the franchise and is a succinct demonstration of the band’s soundscape. Like with how relatively realistic most of the characters feel, the music PoPiPa composes is believable, being an upbeat, trendy type of music with a level of complexity that can be reasonably expected from average high school girls. It’s generic quite frankly, but what matters the most with the music in these types of franchises is the ability to create the emotional attachment that ties the music to the universe it is composed for. Due to the more grounded approach taken when it comes to the music, it gets the job done in that regard. That said, the emotional climaxes are not as high here compared to later seasons, so the actual payoff is not as high as it could otherwise be. The visuals are the elephant in the room when it comes to this anime, and not in any sort of positive way. Xebec, the studio at the helm for this anime that enjoyed good success in the 2000s and early 2010s, seemed past their prime when producing this anime. The 2D art and animation are rough, but first, the positives. The balance of colors is good and the character designs at their base fit the more realistic approach to the directing. In addition, the outfits the bands wear for their live shows all look good as well. They are flashy as intended, but not overly so. All of that aside, the fidelity and level of detail are severely lacking. All of the characters are easily recognizable by their designs, but there are many noticeable hiccups and inconsistencies, even in earlier episodes. 2D performance sections are also very rough. There isn’t enough actual physical motion coming from the characters and motion that is shown feels so out of sync with the music that it could not be any more disorienting. On the other hand, the OP as well as a decent bit of the performances use CGI, and they are easily the best-looking parts of this anime. Though it is still not great, the characters’ appearances more closely match their respective 3D sprites in the game. The frames are a bit choppy at times, but this is some motion blur baked in that helps to offset that. The motions still lack some finer details here as well, but things at least line up correctly in those segments. While it could quite easily be argued that this first season is the worst there is to offer in terms of anime produced for this franchise, it lays a groundwork, with the best yet to come. With many elements of this anime, the common theme is that it lacks in really standing out, but given that this was the very beginning of the franchise, that is an understandable direction to go in and is not that bad all things considered. The realistic approach to the characters and the quality of the music are good elements that carry over and are even improved upon in later seasons. What really drags things down to the point where this anime is not that easy to recommend is the lackluster visuals. It is true that checking the boxes visually for a live music anime is not easy, but when even static character shots consistently appear wrong, it becomes harder to justify the shortcomings. If the bad animation can be stomached, this is a clear ‘recommended’ for music anime enjoyers looking for a longer form of series to get into, especially with Seasons 2 and 3 being significant steps up due to sorely-needed visual upgrades and the introduction of the other bands. Otherwise, it may take some convincing to get onboard with this entry.
Reviewer’s Rating: 5
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May 9, 2025
Bocchi the Rock!
(Anime)
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As one of the most, if not the most surprise hit of 2022, Bocchi the Rock took anime by storm. Cute Girls Doing Cute Things (CGDGT) anime are a staple in terms of what makes anime as a whole the unique medium it is. Though mostly existing as deeper cuts and cult classics, there are certainly a good amount that achieve mainstream success as well. Still, this entry broke the mold in a major way the genre has never seen before. How did that come to be? This review will provide one perspective on its meteoric rise and some insight as to why. Let's begin.
Outside ... of the synopsis, there aren't many major events that really happen here other than the occasional performance every couple of episodes. This series is a music anime first and foremost but many scenes and some entire episodes feel like true slice-of-life. The-slice of-life sections are mostly standard minus Bocchi’s anxiety, but the music beats prove to be a nice change of pace. The depth to them shows that the original mangaka really did her homework. There are two focal points here with the music, those being (1) showing the process of how a band comes together and decides what type of band they want to be and (2) getting into some of the finer logistics of being in a band just starting out. Both are well-written and feel mostly complete. Most scenes take place either at school, Bocchi's house, or at a live music house in the area. Said live house is based on a real-life location in the region this anime uses as its setting, the design of which is redrawn nearly 1:1, which is a very nice touch. There are also references to other music anime that can be spotted at various points. That said, it also feels like just a little bit of meat was still left on the bone. They do dip their feet into observing the greater J-rock cultural landscape, but that is an element more unique to the manga that would appear a bit more in a Season 2 or 3. Instead of going for a more grounded progression, the direction here goes down a unique path with its surrealism, and Bocchi herself sets that tone. The synopsis fails to convey how pivotal Bocchi's social anxiety is to the tones of the story. It is ubiquitous. Pretty much every single scene and character interaction, comedy or not, relates to or features it somehow. Social anxiety depictions in anime have a wide range and the range of quality of them is just as wide. The one here is certainly one of the more unique ones, mostly in a good way. The gimmicks around it are introduced pretty much immediately and don't change as much as the visuals make it seem. It is grandiose, to say the least. Fortunately, this show knows that and runs away with that effect. The slippery-slope episodes of negative thoughts that typically come with anxiety are actually written very realistically (coming from someone who was formally diagnosed with GAD at a young age). The physical representation of how Bocchi expresses those feelings, however, is anything but. Her episodes can get quite severe, with some of them more bordering psychotic dissociations. Viewers often get a direct look inside Bocchi's mind during her episodes, which generate a lot of the comedy for this show. The spontaneous and reactionary nature of those scenes makes for some very funny situations. Mileage does vary just a bit, as there are times when they are shown, but don't entirely fit, so some scenes can feel a bit overbearing. Still, the writing shows a decent understanding of anxiety, which makes it easy to relate to. Those grounded aspects are what make Bocchi very likeable and well-received in terms of her design. As strong a presence her social anxiety is as a viewer, the same effect is noticeable through her bandmates and other characters. As for those other characters, they are good but mostly one dimensional. Bocchi’s bandmates all have distinct yet simple mannerisms with easily identifiable contrasts. That said, because just 4 characters dominate the screen time, the depth to them develops naturally. Generally, there is a lively feel to them since though the general pacing is very slow, individual scenes can be packed with moments and reactions that build up the characters over time. Each member has a distinct relationship from the other 3, highlighting the chemistry between the whole group. Since they are all foundationally very different, they bounce off each other in unique ways. A lot of the comedy that doesn’t stem from Bocchi herself stems a lot from other characters’ reactions to Bocchi and each other. Many interactions and banter border on nonsensical, mainly because of Bocchi, again conveying that surreal approach. There's certainly some serious scenes too, but there's pretty much 0 character drama. The wholesome dial is cranked up high, as all 3 bandmates with all of their differences all easily get in sync with Bocchi and, by extension, each other. There's also a strong sense of yuri bait that extends to multiple pairings, and character ships are a popular topic of discussion among the hardcore fanbase. There are a few other side characters that are rotated as well, but the cast is kept small. Given that this is an anime about girls in a rock band, it is only right that a lot of focus of the sound design be put toward the music. The OST itself is mostly average, but the way it is utilized is cool. The pacing of the music ebbs and flows with Bocchi’s state of mind and whatever she is thinking or saying at any particular time. The in-universe band music, which certainly gets much more resources put into it, is good fun. The full Kessoku band album that released the same day as the series finale aired topped charts in Japan. At the time, it was no surprise. Many, but not all, of the 14 tracks from it, are used in the anime in various ways. The composition sticks to more of a traditional J-rock sound that, while a bit conservative, is accessible and avoids itself from sounding too cute. It carries consistency, feeling, and meaning that allow for connection to the characters and the universe. Voice acting is strong as well. Due to how strongly all 4 band members are meant to contrast each other, nailing their respective quirks and differing expressions is key and executed well here. All 4 of the main voice actors are relatively young and have differing levels of experience, but they bounce off of each other very nicely and do a good job of relaying the band's chemistry to the viewer. Yoshino Aoyama’s performance of Bocchi, her premiere MC role, should end up being her breakout, as it is one of the strongest performances of that year. To naturally perform with a range like she does to match the range of a character as spontaneous and as reactive as Bocchi is impressive. As for the rest, I'm particularly impressed with Ikumi Hasegawa's performance as Kita, but such feeling could easily be applied to any of the major character performances. Visually, Clowerworks brings their A-game. Keiichiro Saito’s directing is some of the most captivating the entire anime space has to offer. The source material being a 4-panel manga means there’s a lot of empty space to fill in when drawing storyboards for an anime, and the aforementioned surreal approach is the secret sauce in the directing and visuals. The breadth of styles, angles, and lighting effects used here is as vast as you will ever see across all of anime. 2D, hand-drawn, manga paneling, soft pastel, low-poly, 3D, MoCap, and more are employed here. The range of facial expressions characters take on is also quite wide. Every other scene shows off just how much the staff had to work with, really making this entry feel alive. Bocchi's episodes, as off-the-rails as they can get, are complemented by chaotic visuals, also utilizing a wide variety of techniques. The contrasts between the 4 band members is just as stark in their colors, expressions, and fashion sense as it is with their voices and mannerisms. Performances are also well-animated for the most part, with credit again due to the different methods they combine to produce them. The unique perspectives as well as highlights to the slighter movements of the performers themselves especially deserves praise. To give one criticism, the performances are a bit inconsistent in that things feel a bit too static at just a few points in terms of performers standing still and being in their own space a bit too noticeably compared to other band anime. What many, myself included, expected to be more of a cult classic when it began airing blew up into an international sensation in a way seasonal watchers hardly ever see. A relatively niche style of story (a CGDCT 4-panel manga) with an unknown director at the helm, and a younger main voice cast for some of which this anime was actually their breakout performance. Who could have possibly guessed? What entries like these show the medium is that no matter how popular or broadly appealing a story is when it gets the anime, as long as a base level of quality is present, there is no substitute for passion, creativity, and the freedom to bring a source material to life. Though certain aspects of the story and characters are slightly overcooked, the expressiveness of every scene and character translates into a lively and enjoyable watch. The physical audiovisual experience is in the upper echelon of music anime. It is the epicenter of a wave of ‘girls making music’ anime that is still going strong today, about 3 years later, though this entry has still proven the most accessible so far. The manga is a very different experience due to its format, but if you enjoy the characters and music references, it’s definitely worth a try. As for this anime, it is easily a must-watch anime based off of how complete it feels from start to finish, especially for slice-of-life and/or music enjoyers.
Reviewer’s Rating: 10
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Mar 26, 2025
Hana wa Saku, Shura no Gotoku
(Anime)
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Anime, being a Japanese form of media, contains entries portraying some of the finer elements of Japanese culture that may not easily appeal to Western audiences. Flower and Asura is one such title, spawned from the mind of Ayano Takeda, who also wrote the Sound Euphonium series. There are some story similarities but such comparisons will not be directly covered in this review. While Eupho resides in a more accessible realm of classical music, this entry's main focus, surrounding literature and public speaking, is more of a specific niche. Some of these types of anime can easily end up being lost in translation, but some
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of them, through their storytelling and visuals, are able to break the mold. Does this one do so? This review will have a gander at that question. Let’s begin.
Per the synopsis, this is mainly a coming-of-age story centered around Hana and her time in the Broadcasting Club. In terms of things that actually go on, there really is not that much. The character interactions are what move things forward, and they do so at a slow pace. To be frank, the story here will not turn a lot of heads. There is little to nothing in terms of plot twists or long-lasting drama, but this is not a story meant to really capitalize on such devices. This is a story about the process of discovering one’s calling, a type of narrative easily translatable to our human society. In this anime, Hana’s arc involves her realizing that her talent is actually something she can use to better herself, and it’s a slow process that not even these 12 episodes cover completely. First impressions of her may vary somewhat. Her insecurities and hesitations can feel a bit overbearing at the start, and it’s by design that they never really go away, but seeing her chip at it piece by piece is what makes her arc worthwhile for those willing to invest into her character. Her given talent for reading and presenting as well as her necessity to improve her talent are both displayed effectively from the beginning, helping set the tone early. As mentioned, it’s a gradual, realistic maturity on display. The main angle that this anime chooses to attack Hana’s dilemma of giving meaning to and honing her craft is that of competition. While the front half is more slice-of-life with a more episodic feel, a lot of the club’s time together in the back half is spent preparing for reading recitals. As mentioned, the art of public reading is a deeper niche (at least it is here in the States so pardon my cultural biases), so seeing it being the dominant focus like it is here makes for a unique experience. At face value, it is a bit boring and not the most creative approach to the subject matter. In addition, a lot of meat is left on the bone when it comes to the actual competition itself. That said, the grounded approach is consistent here as well. Though Hana is talented, she is still only a first-year who has never competed in her discipline. Some aspects of that come as rude awakenings for her, which fit her character and the general tone. The mantra of “someone out there always being better than you” is practiced and demonstrated often in those scenes, not only when it comes to Hana, but some of the other club members as well. Since the Broadcasting Club is a small group, there is enough time to give at least some decent depth to every member. Hana learns and grows with the club as she learns about the other club members’ talents, some similar, some a bit different, as well as some of their own hardships. The varying circumstances and mindsets of the other club members drive Hana’s developments forward, as she picks up hints of wisdom that her club mates leave for her. Hana not being the only club member with visible vulnerabilities also helps viewers get more in touch with the other club members as well. It almost feels like a ‘band of misfits’ gathering, but none of the characters’ backstories are so grandiose. None of them are the most likable viewers will ever meet, as not all of the interactions are wholesome (but most of them still are). Tensions fly and mistakes are made sometimes, but the writing is good in that each members’ flaws and the moments they can clash feel more like growing pains tied to the characters as opposed to any sort of writing shortcoming. Since many of the key moments in this show involve speaking and reciting, it is fair to expect a good amount of detail went into the sound design. The voice acting cast is mostly fresher faces that have yet to hit their highs. For the most part, it is very good given the wider lack of experience. Minori Fujidera turns in her first-ever MC role as Hana, and she does a good job of portraying Hana's insecurities and demonstrating each single step she takes growing out of them. I personally don’t know Japanese at a depth appropriate to break down the finer details of the language that this show gets into, but the show is written nicely in that viewers like myself can still learn something about those details and potentially make out some of them as they are acted out over time. The voice acting also helps with this, as characters going into ‘reading mode’ have distinct, clear transitions in the voice actors’ inflections and pronunciations. Since the attention went into the voice acting, the music feels mostly like an afterthought, but it doesn't take away from anything either. The OP is catchy and colorful too, which helps. Visually, it feels middle-budget but it has some nice effects. Even though this is a contemporary setting, this is a nice balance of color. The school the anime takes place in is in the southern islands so there’s a lot of summer-y backdrops. Many key scenes take place during sunset, and the lighting really pops nicely in those moments. There is one unique device that elevates things though. Whenever a character goes into ‘reading mode’, the visuals of those scenes display the internal mental imagery of the listener. The intensity of the images often matches the intensity of the reading, which is a nice execution that gives the effects decent variety. The final time it is used at the very end of the show is also particularly memorable. As effective as it is, some viewers may find it gets a bit repetitive, since it is pretty much the only distinct element that the visuals really work off of. The character designs do not have much detail but have good depth of color, are all relatively realistic, which is what matters the most given the type of story this is, and also have good variety given that approach. In the end, while this show will not really grab many people's attention because of its subject matter and intentionally slow pacing, it is easily enjoyable. It checks the boxes for the good foundation of a coming-of-age story, the most important being a higher complexity of characters and scenarios. As pedestrian as it may seem, the main narrative here is consistently presented to be realistic and mostly relatable. The ending is underwhelming, but the final arc does a good job summarizing the greater themes of the story. The visuals and sound both hold up decently, but neither have enough to truly stand out. This is an easy recommendation for those looking out for more unique motifs and/or for comfy coming-of-age stories, but it will fail to impress much otherwise.
Reviewer’s Rating: 7
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Mar 23, 2025
Ao no Hako
(Anime)
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Blue Box has made its home in the higher tiers of romance manga for many with its innovation of incorporating sports themes into a high school rom-com story. The anime adaptation was widely anticipated and is one of the more popular anime to come out of a stacked Fall ‘24 season. Is the popularity deserved? I will give my take in this review. Let’s begin.
The story centers around the interactions between our MC, Taiki, his crush Chinatsu, and his childhood friend Hina. The synopsis may seem to indicate that the sports are the main focus with a straight-forward romance subplot, but it is anything but. ... The sports and the romance mix together but both also have separate plot lines. The romance situation is especially complicated, in both good and bad ways. Maturity, self-discovery, and navigating the naivete of youth are the main themes overall. The sports beats are fantastic. Those segments are exciting, the results mostly unpredictable, and they are well-directed. They show the best developments and aspects of the characters, and really get in-depth about who they are as people. All 3 of the leads are in differing head spaces and situations when it comes to where they stand as athletes, but what is ubiquitous across their scenarios is their drive and ambition. Seeing them give their all mentally and physically in their sport is what makes you initially attached to the characters and want to root for them. Unfortunately, the consistent depth and quality of the sports sections does not consistently carry over into the romance beats. The sports themes really bring out the complexities of the characters, but the romance dumbs them down. It is a love triangle situation with a slow burn to it. It is slow by design and the writing shows that it can be quite thoughtful about the whole situation, but that attention to detail does not persist. The back third is where the romance really starts becoming the main focus and the weaknesses start to show. Heavy-handed tropes make their introductions and the progression grinds to a frustrating halt for a bit. The show becomes too predictable and too slow at the worst possible time, leading up to the end. What some viewers may find particularly frustrating is the all-around indecisiveness that dictates the pacing. It’s a strange device in that it shows the complexities of that side of the story, yet in the same breath, it can end up serving as an excuse to draw up excess drama. Still, as frustrating as it may be for some, those character’s actions and inactions feel relatively within structure, in that all of those involved act like teenagers who haven’t lived a lot of life and aren’t familiar with feelings of love. Everyone considering each other’s feelings in their own way is the main culprit of that facet. What also hurts somewhat is that there really isn’t much resolution by the end. There are some aspects of the story that finally get examined as they need to be, but they don’t feel truly resolved. There are probably plans for a Season 2 given how the stopping point here was decided as well as the general popularity, but when looking at it as a sole product of these 25 episodes, it’s lacking in finality. Taiki, the MC, is not as likeable as he first appears. He is by all means a decent person, but he can come off as annoying sometimes. He’s rash, an overthinker, and a bit dense as well, traits typical of shonen MCs. Yet what makes him interesting and more likeable than expected, also like most shonen MCs, is his drive to improve, both in badminton and in terms of his whole personality. His interest in Chinatsu, while not his sole motivator, being very relevant to his self-improvement is where the romance comes into play and shows the better written aspects of the main pairs' dynamics. That element to his character comes through very clearly because of the moments he spends with her. Outside of those moments, Chinatsu pops up in his mind a lot, and though it’s a bit overbearing at times, it feels realistic considering how someone his age sees their first crush. Chinatsu and Taiki’s on-screen interactions, as much as they often start feeling like ‘will they, won't they’ as time goes on, are packed with meaning. The same can be said between Hina and Taiki as well. The directing does a good job of relaying when even more mundane moments have that importance and demand a viewer’s attention. Outside of Taiki, the two main girls will be the main draw here for many viewers. Chinatsu is not a character of many words, but that is part of her appeal. In many romances, quieter female leads will also tend to come off standoffish. Chinatsu is unique in that she is not that at all, as polite and thoughtful as she is. Her being a bit more reserved and succinct is a refreshing contrast to Taiki, who is much more talkative but also struggles to find the right words a lot of the time. Hina, on the other hand, is certainly the weak link. The ‘childhood friend’ tropes are very noticeable from the very beginning, which makes it all the more strange considering that she has a lot of depth relative to characters of similar archetypes. She adds a lot to the comedy in really refreshing ways with her lively clapbacks, and her storylines as a member of the rhythmic gymnastics team early on are also some of the most intriguing in the series. Still, the progression of her relationship with Taiki is too cumbersome and feels hollow after a while, a big reason behind the drop-off of the back third. For all of the criticism I just gave about the main trio and their dynamics, they are quite expressive. As a whole, credit is due for drawing up a fun bunch of characters. You see them happy, sad, serious, tired, having laughs, and the visuals and directing do a great job of giving the characters that sense of liveliness. It all feels very ‘springtime of youth’ and that direction fits well with the larger themes. There are lots of side characters as well, with good variety and good writing. The introductions and relevance of key side characters are spaced out nicely so the cast never feels too stale outside of the main trio. Visually, things are very good, but they could have been great. The first third, and the second to a lesser extent, put on display some very unique lighting and shading effects in the more intimate moments. Those effects are the true X-factors of the visuals. For whatever the reason may be, they just stop having that same depth past the midway point, which is disappointing. Even more so considering that those aspects of those interactions are a key device in driving home the feelings stemming from those moments, making similar ones in the latter half feel flat in comparison. Still, the rest fits the bill well. Miura’s unique style is emulated very nicely. The base designs of the characters are quite clean and there are many styles of expressions that add to the comedy. Considering the contemporary setting, the backdrops are generic in design but are still very clean and colorful. In addition, many of the sports sequences, even in the latter stages, are animated well. The sound design is a big strength as well. When the trio of Shoya Chiba, Reina Ueda, and Akari Kito were announced to play the main trio of Taiki, Chinatsu, and Hina respectively, the approach to the voice acting was clear. This cast, down to the key side characters, is at their prime and loaded with experience, and the performances show it. Shoya Chiba’s performance especially deserves credit. As mentioned, Taiki can come off as quite brash sometimes, and the voice acting does a great job of naturally showing those not-so-favorable tendencies. The OST hits strongly in the moments between Taiki and the two girls and in the matches the characters take part in, but it doesn't jump off the screen much otherwise. Both sets of OPs and EDs are all great, with good song selections and some of the beautiful complementary visuals viewers may see this year. In the end, while some parts of the story are a bit rough, the adaptation fits the bill decently. Visually, it is very good, but also had a chance to set a standard for the genre if it was just a bit more consistent. The voice acting is fantastic, and the music is good. Some of the greater narrative choices and story devices stemming from the blending of genres are quite an odd mix. Sometimes they work well, sometimes they don’t. The events presented in the back third are a slog. It didn’t quite stick the landing but at least got around to some things that needed to be addressed. Mileage may also vary with the characters, but there's more to like than not. The romance is a bit too inconsistent, but the sports motifs are incorporated wonderfully in terms of narrative, directing, and visuals. For those looking for a sports entry to get into with a great physical watching experience, I would recommend it for that.
Reviewer’s Rating: 7
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Feb 16, 2025
Boku no Kokoro no Yabai Yatsu
(Anime)
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As one of anime’s more anticipated adaptations of 2023, The Dangers in My Heart had some big shoes to feel. With school rom-coms being a dime a dozen as they are for as long as they have been, it takes a lot to stand out. There are some such entries that rise above, setting a standard in some form or another, and this one does so in a unique way. That and more will be addressed in this review. Let's begin.
Per the synopsis, our two MCs, Anna and Kyoutarou, dominate the screen time. First impressions are somewhat rough and it takes time for things to ... get going. In the beginning, Kyoutarou is neck-deep in his chuunibyou mindset. While his train of thought is somewhat disturbing, it still comes off as quite childish. It is jarring but that circumstance is what gives way to the strongest aspects of the story here. Especially in shonen romance, perceivable development of the male lead is something that can be too easily lost or mishandled, but this one does a great job of examining Kyoutarou’s maturity and portraying how he confronts his own insecurities, both due to and outside of his relationship with Anna progressing. In addition, even after accounting for his chunni phases, he actually comes off as relatively reasonable and mature for someone his age, especially when compared to his classmates. In that regard, it is a good starting point in terms of recognizing that both (1) he does have some desirable characteristics when it comes to why Anna is interested in him and (2) the changes in his development and maturity have a steady base and are shown consistently throughout the anime. It comes down to simply a gradual and natural growth, revealing the intentional effect of why everything feels so rough in the early goings. His struggles with self-esteem and meeting with that special someone that pushes him forward is a realistic and relatable situation, though this exact execution in this scenario is not as much so. Anna also has some issues from the onset. She is as airheaded as much as the synopsis suggests and more, and that's on top of having the elements of an immaturity we would expect of a junior high student, accentuated by her snacking obsession. She does reek of waifu bait given her appearance and some other parts to her character that are introduced throughout this first season. Like with most of the story elements, it takes a bit of time to get to the meat of her character, but it's written consistently enough where those parts of her never feel too overbearing or annoying. They actually become a bit endearing after a while, as those parts of her character help with making the main pairing stand out as the plot progresses. What also helps is that, like Kyoutarou, she is a good person. Though immature she may seem a lot of the time, she reveals often that she can be quite considerate of others when she really tries to be. Though her character development pales in comparison to Kyoutarou’s in these 12 episodes, more of the focus being on her is one of the highlights of Season 2. Even with all of the flaws mentioned above, both Anna and Kyoutarou avoid many of the more heavy-handed tropes typical of school romances. They are also both relatively deeper characters than their first appearances. Given that both come off as awkward in their own ways at the start, it is a given that the first few episodes of interactions between the two are also awkward at first. It is easy to spot this as an intentional effect as the two with their very contrasting tendencies get a feel for each other in their own ways, helping the early buildup of the relationship feel more natural. They do get into misunderstandings, but they hardly last very long (one episode, at most). The ‘rom’ and the ‘com’ between them have a good balance as well. Anna’s cute bluntness combined with Kyoutarou’s herculean efforts to keep his composure create for a good variety of tones between the two. Many moments are intimate as expected, but there are also many where it’s him clapping back at her for some trouble she gets herself into. As for the other characters, there are actually a lot of them relative to other shows with similar structures. Anna's clique gets a lot of screen time and, like with Anna and Kyoutarou themselves, they take a few episodes to get used to. They all know that Anna is a pretty unique person, and Kyoutarou gets on the same wavelength with them as he learns that about Anna throughout the show. Kyoutarou also has his own group of friends. Both of the MC's families also get time. Their roles all vary a decent amount. The variety gives way to lots of opportunities for middle school level antics but it is easy to point out the interactions that are meant to matter the most to the story. Some of them play wingman, many are ignorant, both willingly and not, to the whole thing, and some even try to get in the way. The art here is very good, almost near the top of the genre. The fidelity is good and the original manga’s style, while not 100% perfectly emulated, is done so cleanly with very little inconsistency. The use of effects is masterful and elevates the visuals. Most of them are actually quite subtle by anime standards, usually being some sort of mid-scene lighting change. They are almost exclusively used for setting the mood, highlighting key moments between the two leads. In terms of the character designs, they are all pretty generic given the contemporary setting. The main pair has some visual contrast that is immediately apparent, e.g. the obvious height difference, but also has elements that reveal themselves over time. Many of the backdrops are pretty standard, nothing too unique given the modern-day setting, with school and Kyoutarou’s house getting most of the screen time, but they look good and, as mentioned, the lighting in particular was given a high level of care and attention depending on what is happening in any particular scene. The sound design was the biggest strength of this anime. Hina Youmiya has emerged as a big name in the business and her performance as Anna is her strongest to date, skillfully characterizing Anna’s unique charisma, cheery mood, and peckish tendencies. Most will likely recognize Shun Horie from Rent-A-Girlfiend (which, amidst many arguable controversies story-wise, has top-class voice acting) and he turns in a strong performance as Kyoutarou. A lot of the comedy stems from his inner monologues, which almost always betray his outward indifference, so getting those right is critical for the transition from manga to anime and they are executed perfectly here. The two leads together are in great sync as well, really breathing life into the main duo. The music is also fantastic. The OP and ED fit well in both the song choice and the visuals. Kensuke Ushio is one of the industry's greatest minds of music and sound with his signature minimalist style, and his work on the OST in this entry only further adds to his legacy. As mentioned, even more mundane moments between the main pair can feel quite intimate, and the OST is the main driver of that. The soft piano tracks that ebb and flow in the background during those pivotal moments as Anna and Kyoutarou act with and react to each other heighten the senses during those interactions. This anime was fairly anticipated, and in its wake, has set a standard for the romance genre in terms of the adaptation and how it brings the story to life. The audiovisual package here is at the top of the genre and the physical watching experience is sublime. Pretty much every single character comes off a bit strange at the start but such a feeling only multiplies the fulfillment of the developments over these 12 episodes. The pairing here, both as a whole and as the sum of its parts, is not perfect, but such an effect also feels somewhat intentional with their relationship developing naturally. For any and all romance enjoyers, this one easily fits itself right in the must-watch tier, and it only gets better in Season 2 as the best aspects of the characters begin to really shine.
Reviewer’s Rating: 8
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Jan 9, 2025
Muv-Luv Alternative
(Anime)
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As one of the most critically acclaimed visual novels (VNs) out there, it seems odd that it would take 15 years for Muv-Luv Alternative (MLA) to finally get an anime adaptation. In the world of VN adaptations, it is often the case that the quality or acclaim of the source material is not indicative of the quality of the adaptation it receives. How does this one stack up? I'll attempt to provide an answer to that in this review. Let's begin
The story of MLA at its core is a hard-nosed military drama with many old school alien invasion story beats present. The synopsis gives the ... impression that this is a more of a traditional alien invasion story, but it actually gets very political, especially in the middle portions, and it can get more complex and intimate than simple clashing of humans vs. aliens. There is also a very strong Gundam aesthetic, as the TSFs, the mechs in the story’s universe, hark strongly to the sharp angles and bright colorways signature to Gunpla models. And if readers end up getting Attack on Titan vibes out of this, that is because Hajime Isayama himself has publicly stated that the original VN was a strong influence behind his magnum opus. In terms of the events actually covered in the anime, there is one huge problem. The first third to half of the series is simply way too fast. Some context regarding the VN is needed to really understand why that happens here. MLA the VN is the third entry of a trilogy. This first season of the anime covers the first 6 chapters of that VN. Of those 6, the first 4 are mainly set up for the rest of the story and move much quicker than the rest. The reason the VN can get away with this in terms of both the story and the characters is because of the context gained from the previous two games, especially the 2nd game, ML Unlimited. The anime tries to emulate this effect, but fails badly. Events from the other 2 games are not significantly covered at all, making the first third of the anime feel incomprehensible on top of it being even further rushed due to the episode constraints. There are short callbacks to the other 2 games throughout the anime that are kept brief, but again, there is no context provided so VN readers are the only viewers who can make anything of them. Trying to bounce off of context while not actually having it, on top of the deadly 12-episode constraint to try and force it, is a messy catch 22 and the fatal flaw here. Having episode 1 being anime-original like it is here pours salt on the wound in this regard. It does its job with introducing a general state of affairs, but that time ought to have been spent doing so with the already relevant characters instead of introducing new ones that have nowhere near as much screen time. Speaking of the characters, they also suffer from the same fundamental issue. If anything, the pacing actually hurts the character developments more than it does the progression of the narrative. Again, due to being in the 3rd game of a trilogy, readers already have attachment to the characters due to context from the previous 2 games. The early chapters of Alternative (as well as a majority of Unlimited’s entire story) involve a lot of the slower moments involving Takeru simply bonding with Squad 207 as they help him come into his own with what is going on around him. Those types of interactions are not touched upon enough in this anime. Due to this, Squad 207 does not spend anywhere near enough time together for the emotional buildups in the first half of the story to meaningfully pay off. None of the characters feel too tropey or problematic but because of how quickly things move at the start, there isn't even really a chance to get to know them that well. The developments of the other members of Squad 207 are covered at a basic level, but the pacing and episode constraints result in a noticeable lack of depth. Though like with the story, the back third handles things better after finding a more consistent pacing. For all the story woes early, the back third, which adapts Chapters 5 and 6, is very enjoyable. In the game, this is where the story starts to slow down and the anime also finally starts taking its time here as well. These parts of the story also are where the more political storylines kick in, so more of the story's complexities start to show as well. While those beats may not be what viewers initially sign up for, they serve as important character development. The sense of urgency in the direction and sound is executed very nicely. The cuts made for these sections also hurt much less than the ones earlier on. It is just a shame that it takes until that point for the anime to find a consistent pacing. They even add content that, while not groundbreaking, is still meaningful. The anime-original content provided in episode 1 sees its return on investment in the Chapter 6 adaptation, as the main anime-original character viewers meet provides a unique perspective on the complex landscape of the events that are occurring at the time. Visuals are a point of contention for this anime and it mainly comes down to two points. Firstly, pretty much every action set piece utilizes CGI. Depending on your tastes, your mileage will vary. There is certainly worse CGI out there. The BETA models do not look too great, but the TSFs look good, as those models have good detail and their colors pop really nicely. The TSF movement is a bit inconsistent though, it will sometimes look smooth, but will look choppy at others. Secondly, the art style and color palette massively differ from the VN. The VN originally came out in 2006, with an art style that screams 2000s, with its balanced colors, wider, exaggerated eyes, and thicker, sharper edges. Likewise, the anime, having come out 15 years later, more matches the modern aesthetics of the medium today with its softer features and much brighter colors, a strong tonal shift in the art direction compared to the VN. This element of the design is fine, but this is something VN readers will likely see as a negative. That aside, there are still several finer details that are lacking. The most noticeable of these are in the character designs. There are too many scenes where the characters' facial expressions feel too stiff. It's a typical quirk of low budget anime that is hard to get around, but it is not any less unfortunate to see from an emotional drama like this one. The designs on their own are fine, but for VN readers, those elements are the elephant in the room for this anime. Compared to the VN sprites, almost every character's appearance, both main and side, feels like a very significant downgrade. There are even some characters who look radically different and are completely unrecognizable at first glance. They do feel more consistent with the general design approach of the anime in terms of matching modern design trends, but it could also be argued that what isn't broken doesn't need to be fixed. The sound design is very good, and is easily the biggest positive here. Given that it's been 15 years since the VN released and that none of the original VAs at the time were any type of household name, none of them return. It is a fair circumstance, all things considered, albeit unfortunate. Still, the VAs that take their place are proven names. They do a good job with their own interpretations of the characters, with some even finely matching the ranges of the original voices. VN readers will be right to nitpick some of the finer details of the main group, but given the circumstances, there is good base quality in the voice acting. The music is also strong. They brought in Evan Call to help compose, and while he is still a fresher face in the medium, he is steadily building a resume to become a strong presence in the industry. The quality is high in the OST, especially when Chapter 6 comes around. The OP and ED aren't bad either, just a bit generic. Music from the VN is present but is hard to point out. Tracks from it that are used have mainly been interpolated from it instead of being taken directly from it. The sound effects also have a high level of quality, especially when it comes to the TSFs, and at times even surpassing the visuals. Sound effects from the VN are present but are only used sparingly. This anime is not as abysmal as many of the VN readers may try to make it out to be (and this is coming from a VN reader). Such sentiments, however, do reveal that it can be hard to see who this anime is supposed to appeal to. It follows the VN and works like the 3rd entry in a trilogy, but still tries to make itself work as a standalone product within its own limitations at the same time. It fails at both in different ways. It's hard to recommend going in blind because of the pacing and the lack of context, and it's the same for VN readers because of all of the other changes, especially to the visuals. Still, though it is just a middling tie-in, a just-serviceable attempt was made given those limitations from a small studio. The back third felt decently close to a proper adaptation, making the most out of when it most mattered. The voice acting and music are strong. The visual elements can potentially be stomached, and viewers going in blind are none the wiser to the changes the anime makes. The thing that hurts viewers across the board is the super fast pacing at the start, and is the main reason I would recommend the VN over the anime.
Reviewer’s Rating: 5
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Dec 27, 2024
Trinity Seven
(Anime)
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In the early-to-mid 2010s, ecchi stories, both romance and otherwise, faced a sort of renaissance, with stories at that time introducing heavy doses of action beats and set pieces. It is an era nowadays headlined by classics, like High School DxD (2012) and Kill La Kill (2013). Trinity Seven, released in 2014, is one title that was a part of that run that stuck to the romance route and enjoys decent popularity. It is also the focus of this review. Let's begin.
Upon reading the synopsis, the first things that may come to mind are grand magical battles and the uncovering of conflicts that change the ... course of the world. Unfortunately, this is not really the case and also this show’s foundational flaw. For how big the scale of the preface feels at the start, the events throughout the anime often feel much smaller in comparison. Even in the face of supposedly earth-shattering events, the viewer only ever sees the impacts from the perspective of our cast and the immediate setting. A lot of the conflicts here are mainly character-driven, which is not in itself a bad thing as the character conflicts here do have some real weight to them. That said, it also feels like the action going on would be at its best if conducted at a bigger scale or with noticeably higher stakes. Though viewers are basically dropped right in at the start with no chance to understand what is going on, the first few episodes do lay down a decent amount of groundwork, helping with world building early on. In terms of the conflicts presented across the 12 episodes, though the conflicts presented do feel relatively superficial, they are at least wrapped up in a satisfying way that also leaves room for intrigue as to what comes next. Most of the key moments in this show occur during action set pieces, which, by and large, are fine. They are enough to entertain but not enough to amaze or excite. Most of the fights are magic-based so there usually is not too much going on the screen at a time apart from the visual effects of the magic themselves. The magic system is interesting, though it is generic in terms of the seven deadly sins’ influence (not the show, the actual seven deadly sins). There are many ‘hot words’ and mechanics that give it a unique feel. Unfortunately, most of these mechanics could have still benefited from additional explanations in the later phases. The entire system is not inherently intuitive and as the fights ramp up and powers get more complex, it gets a bit hard to keep up. Arata, the MC, is a parody of the prototypical dense-as-rock harem MCs, with his straightforward perversion and unfiltered clapbacks. As for other parts of his character, he is generic but likable for the most part. For how rambunctious he comes off as, he has a good sense of when things get serious. Though this is a fantasy story, his broader motives are meaningful and relatable. As for how he comes across the Trinity Seven themselves, the main dynamic is laid out as a harem right from the onset, leaving no room for misunderstandings or petty conflicts. This show does away with any of the drama that comes with harems in favor of getting to the action quicker, and any single impression of such drama is instead dismissed as comedic relief. It feels somewhat tacky but is also a welcome change of pace in a way. All of the girls’ relationships with Arata are mostly wholesome, though they don't all warm up to him at the same time. He genuinely respects all of them a great deal and values the knowledge they give him. As for the girls, they are a pretty fun bunch and none of them feel too generic, though some of them do feel quite trope-y. Balancing all seven is a pretty difficult balancing act to make sure everyone gets screen time, but it works out well for the most part. Every girl gets decent contributions to the story, even after their introductions and key moments of relevance. As already mentioned, how the group gets tied into each other's conflicts is what moves the story forward, giving their interactions with each other and Arata decent depth. Between the more serious moments and the times in between, the interactions never feel too stale. The ecchi actually helped in this regard as well. Arata himself is not afraid of acting flirtatious and the reactions across the girls actually have a lot of variance. Some partake in the “expected” reaction of being grossed out, some dismiss it nonchalantly, some get a laugh out of it, and some even actively join in with it. Barring a few exceptions, the ecchi does not really intrude on the more serious moments or overstay its welcome often. Scenes in between fights and those more tense moments are usually where the ecchi make their home, but it does come up in fight scenes somewhat as well. Some of the more expository world-building scenes also try squeezing in some fanservice moments to mixed results. Most of the devices themselves used here are the usual horny jail suspects: panty shots, sex jokes, awkwardly exaggerated moaning, feels being copped, and, let's not forget the tried and true, spontaneous explosive disrobing. The girls’ designs show a decent amount of skin as well. It all resembles the usual stomping grounds for degeneracy without crossing the border into hentai-lite territory. Some more acclimated viewers may feel blue-balled by more not being shown, but others may find that it strikes a decent balance. There are some exceptions, but only one or two in particular occurred during major climaxes that actually detracted in that aspect. The art is pretty good for the time. Seven Arcs is a small studio, and as of time of review, about 5 years ago, the subsidiary that worked on this anime was merged with other divisions to create the Seven Arcs of the present day (Tonikawa, Blue Period, Chained Soldier). Given those circumstances, the fidelity and detail are higher than expected. Most of the backdrops are under-saturated and mostly generic in design, but the high level of detail makes up for it. The Victorian-era magic school backdrop is as generic as it gets, but looks fine. The under-saturation does hurt the character designs somewhat, but are fine otherwise. There are little inconsistencies that appear every now and again, but that is also a typical circumstance of anime handled by small studios. Most of the other backdrops take on high fantasy motifs, which also are very familiar. The visual effects are also relatively plain, though they got the job done. There is a lot of black as well as other subdued shades of gray and blue that visually complement the magic system. There are not really any moments where things straight up look bad, but there is not much that will really ‘wow’ the viewer either. Like the art, the sound is passable. ZAQ churns out recognizable and catchy OPs like hotcakes and the one here is no exception. There are a few different endings rotated throughout the show sung by the VA cast, which is a nice touch. The electronic OST design generally fits the show well, but does not really impress. Like the visuals, sound effects are also pretty generic. The whooshes and warbles ubiquitously present across action fantasy anime are present, but they get the job done nonetheless. The voice acting is good. All the girls sound distinct, a deceivingly easy thing to mess up with a harem of this size. Yoshitsugu Matsuoka, the harem king himself, makes an expected appearance here. His performance of Arata is a high point of this series. As for the girls, there are some listings that have since evolved into household names (Ayane Sakura, Nao Touyama, Youko Hikasa) as well as some that though a bit more under the radar, did garner a few big roles in later anime (Ryouka Yuzuki, Rie Murakawa, Yumi Hara). There is not any particular performance there that really stands above the rest, but they are all solid. In the end, while this show appears to be ambitious with its premise and characters, the meat of it feels like just any other magic-academy action show. The art and sound are good enough, but lack any elements that elevate the physical watching experience. The strong desire to immerse into the world presented is diluted by the convoluted magic system and slower style of story that juxtaposes what seems to actually go on. That said, this is still a solid entry. The characters are fun and lively and that tone carries strongly into the story. The ecchi makes its presence known consistently but does a good job of not being too overbearing too often. If you want more horny in your life, this is a good one to pick up. If not, you’re not missing out on much otherwise, but you may still find some enjoyment in it nonetheless.
Reviewer’s Rating: 6
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Aug 11, 2024
Yoru no Kurage wa Oyogenai
(Anime)
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When looking at the listings before the Spring season this year got underway, this entry likely went beneath the radar of many, especially with many powerhouses like Demon Slayer, MHA, Tensura, Mushoku Tensei, and the galactically-anticipated third season of Konosuba also on tap for the season. Seasonal watchers like myself who don't mind digging amongst the weeds find comfy homes with these types of titles, an original anime from a proven studio and staff with an intriguing VA listing that somehow received little to no hype coming in whatsoever, but I digress. The music genre has enjoyed a resurgence these past few years, and this
...
entry seeks to capitalize. Some will recognize Yuki Yaku, the original creator of this series, as the original creator of the Bottom-Tier Character Tomozaki novel series, one in which its thoughtful character and scenario writing is a strength. Does this series meet a similar standard with its characters? I'll attempt to answer that and more with this review. Let's begin.
As the synopsis suggests, the main drivers of the story are the four girls it centers around, Mahiru, Kano, Mei, and Kiui, and how they make their mark as a hot new music group on the block. There is a theme shared almost ubiquitously amongst the individual arcs of the four girls as well as the overarching story as a whole. The main theme here, one pretty common in anime, is about overcoming your pre-defined self and becoming the person you envision yourself to be. All 4 girls’ arcs are personifications of this, and those sentiments are also the driving force for all 4 of them to work together as a group. They are all very different people and their versions of their ‘ideal selves’ all exist on very different standards, making for very fresh and interesting interactions. For all 4, their personal growth is well-written and it is not long before finding yourself rooting for them. They are not necessarily equal in terms of realism and relatability, but they are so in being able to resonate with viewers. Overcoming personal struggles, like how they are demonstrated here, is a universal language that everyone can communicate in. Of course, the whole group has conflicts with each other, some of which towards the end are oddly placed, but most of the time viewers will see the four of them against the world. Social media is another important theme, as the group talks about their presence on it a lot, so many of the conflicts actually result in the group going up against the reactions of the Internet. Though the entire group of four gets more than enough time to shine together, Mahiru and Kano are treated as the leads. Though the show treats Mahiru as the main character, Kano's developments stick out more. As a pair, they are fun, and refreshing in the way that they aren't complete opposites of people that somehow end up getting close, but actually relate to each other on a very foundational level. There was a strange touch of yuri bait between the two that was not necessarily out of place but seemed to lack any true intent. It just seemed like an element that was sprinkled in at the last minute for the sake of fanservice. That aside, there are two very significant issues with the narrative. Firstly, far too little story progression happens in the middle third, leading to the final phase being a rush and an ending that felt too open. There's a lot of time spent in the middle third with more slice-of-life scenarios, which is not an issue itself. Where it becomes a problem is introducing side characters with no relevance on top of showing scenes that don't tell viewers much about the characters they should be caring about to begin with. In addition, though the aforementioned main theme fits the show, it often feels like the writing sticks to it too closely. At times, there is a lack of dynamism to the narrative where events that should feel consequential do not. Yes, we see the characters grow, but what is not readily apparent is any significantly tangible impact in that regard after the fact. Some of this may be due to the 'social media' aspect where all we see in terms of those story beats is the character's reactions. In a way, the ‘middle third’ issue also plays a hand here, as this problem is most apparent towards the end. The main plot twist, which actually does a good amount of shaking things up, occurs way too late, forcing the rest of the story to play catch-up, resulting in a subpar ending. With all the faults that come towards the end of the story, the first 2 or 3 episodes are simply magical, with some of the most engaging directing so far this year. Unique camera angles and pans, the creativity of the backdrops, and the night-life vibe of late-night downtown Shibuya all gave the early episodes so much life. The sound design is top-notch in many scenes, and it is about as good as a first impression could get with the music and voice acting. The character introductions are packed with impact. Mahiru and Kano's initial meeting is a tone-setter for the character dynamics and shows that aspect of this anime at its absolute best. Visually, Doga Kobo deliver here, as they always do. As mentioned previously, the first episode is at a very high level production-wise. In terms of some of the more cinematic elements specific to the direction, none of the following episodes match the first few in terms of those techniques. That said, the base level of quality and color in the design and backdrops stays clean and consistent. The fidelity and detail are very good. Some of the day-time backdrops look a bit dry, but the nighttime backdrops make up for it with their extra brightness and color. The main quartet's character designs are colorful and set a tone of individual contrast between all 4 of them. A nice touch added in also is that recurring side characters have equally colorful and distinct designs, instead of the main 4 sticking out like sore thumbs amongst a sea of generic blacks and blues. The visuals that complement the music videos the group makes are what make those songs stand out. It is often a barrage of whites and blues with sweeping curves and bright sparkles. The little avatar that moves along with the music is a fun spin as well. This is likely down to personal taste, but one or two more songs presented that way would have really elevated things. Since this is a music anime, it is apparent that care was taken towards the sound design. Rie Takahashi's casting as Kano was another big draw to this anime at the start of the season, and it is easily apparent why from the onset. Not only does she have a unique tone, but also a very strong singing voice. For all 4 girls, the performances are all high-quality. Alongside their designs, the voice performances do a great job in giving each character their distinct identity, making moments they come together all the more intriguing. Miku Itou is the second name that most people will draw to in the listing. She plays Mahiru and while it is a very good performance, it is not anything not seen from her before. She is more or less the straight man of the group so she does not move across her range as much as the other three do. The music the group ends up composing is nothing too extraordinary either, sticking to contemporary J-pop sounds, but it sounded good and as mentioned, Rierin's singing is always a pleasure. In the end, this could be a truly great one if only there is more focus in the middle third of the story. The effects of the sluggishness of the middle third do not manifest until it is all over, but breaking it down in hindsight reveals that is the root cause of it. Not only is this anime unable to avoid a common anime-original trap of sputtering out in the final phases of story, but it stays a bit too consistent to its themes and does not take many risks until it is far too late. Still, even with those woes of the story, there is still a lot to really like here. Visually, it meets the standard you'd come to expect. The characters are lively and are able to move both independently and as a group. The voice acting is excellent. The incorporation of art and music both in the watching experience and how they are presented alongside the story make for a relatively unique experience. It is well-written in that though the art and music were written by real people, it is easy to get invested in them as products in the universe of the show instead of that of our own. For better and for worse, this anime feels like another wave in the recent wake of ‘cute girls making music’ anime that has started making splashes since the turn of the decade. While it lacks the mainstream appeal of a Bocchi The Rock or the more niche acclaim of a Girls Band Cry, it does enough to stand out on its own. It is not a must-watch, but music anime enjoyers will find a home here. The things that matter the most are what it does best. The music is bops and the girls are cute. For many viewers, there is not too much more to ask for than that.
Reviewer’s Rating: 8
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