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I now see why this movie is such an explosive gargantuan hit in Japan. I don't think I can write very much for this review.

Firstly, it's because watching Kimi no Na Wa is like going on a journey - one where each person takes away something exclusive to them and them only. The best way to experience it is by watching it right away rather than holding off and reading some lengthy review written by some random jerkoff on the Internet before doing so.

Secondly, I feel that an analytical and constructive review would defeat this movie's point. I think it's best that this review stays ... as short and sweet as the movie itself. I'm not sure how to describe it, but maybe the best word to capture the essence of Kimi no Na Wa is, um...


"serendipity"?


Story & Writing:

Something about Kimi no Na Wa has touched my heart so deeply and gently that I am more than willing to overlook just about every and any flaw its story or writing has. As I've said before, in the first place, if you're looking for ultra-realism and flawless plot threads in Kimi no Na Wa, you're missing the point. The "point" you should be looking for is something a lot more heartfelt and ephemeral, something that strikes a resounding chord in the your heart, producing a sound that you cannot consciously perceive. Only after you've seen the movie, and you take a step back to muse, do you realize - that something, or someone, somewhere, has changed forever.

Art:

Oh my fucking god.

Throw out everything you thought you knew about "good" animation. All that shit belongs in the trash. Everything - from the color palette to the backgrounds, the special effects, the character designs, and most of all, the cinematography - they all exist for one purpose:

To show you the sheer unadulterated awe you once felt upon seeing anime for the very first time.

Sound:

Kimi no Na Wa is chock full of melancholic, bittersweet and emotional tracks that impeccably completes every scene they start playing in. If the visuals is the moon then the sound is the stars - and what's the moon without the stars?

Enjoyment:
10/10

Overall:
10/10

Sit up right and clench your ass cheeks tight. We're going on a journey.

*minor spoilers*

Story & Writing:

Oh for fuck's sake.

Zankyou no Terror had everything it needed to be amazing - a wonderful premise and setting, compelling characters, exciting plot and riveting mind-games. What went wrong? Fucking everything.

Offense #1:
In my experience, there's a tried and true rule of writing, and it's that retarded romance subplots ruin everything. I've seen good shows fall into this rabbit hole over and over again, alienating their audience by introducing some retarded romance subplot, complete with extra melodrama and angst that no one gives a flying fuck about. Sadly, Zankyou is an offender too. Somewhere down the line it became a tweeny and angst-ridden ... pile of garbage. This is not what I signed up for. This is not what I started watching for. I barely know any of these characters; you expect to give a shit about their feelings? I feel like Zankyou completely forgot its identity and purpose, and what was supposed to be a youthful and rebellious crime thriller devolved into a tweeny fanfiction written by a 12 year old girl who has just finished Death Note for the first time and who thinks that she can write a "dark and edgy" story like Death Note too.

Offense #2:
Towards the end, Zankyou shamelessly shatters the audience's suspension of disbelief. Everything went to shit after Five appeared and went to town with her dogshit antics. What happened to the battle of wits between the boys and the detective? Zankyou completely took him out of the picture, and in his place we get the shallow, third-rate Saturday cartoon villain bimbo known as Five. She is outright worst than the "terrorists" that she was brought in to capture, but no one stops her and just lets her do her thing...? Everything she does is extremely over-the-top and counter-intuitive, prioritizing her vengeance for a far-fetched grudge towards Nine and Twelve over civilian lives or efficiency. Her actions make absolutely no fucking sense, and it must have rubbed off on Nine and Twelve , because they also suddenly started to think out of their assholes and not their brains anymore, which leads me to my next point: asspulls.

Towards the end, the show was spontaneously pulling one development after another straight out of its asshole, insulting the audience's intelligence and flipping a giant middle finger to any member of the audience who has been watching it because they appreciate how believable and realistic its writing has been until then.

Also, during a certain plot development, Nine was caught in point blank vicinity of a bomb blast, but came out unscathed with a few scratches on his body? The show tried to glaze over this point but you can't fool me, bitch boy; after that blast Nine should at least have a new hole to shit out of - a hole even bigger than the plot hole that allowed him to survive. This is only one plot hole out of many, and I will refrain from writing about them to prevent more spoilers.

Art:
MAPPA did an amazing job with this show's animation. It's a shame, however, that all that effort was wasted on this trainwreck of a show.

Sound:
The OST of Zankyou is well above average - good, even. Not only are the OP and ED both pleasant to listen to, the BGM is full of adrenaline-pumping electronic tracks, extremely fitting for such a thriller-esque action show.

Enjoyment:
My enjoyment started out at a 9/10 but gradually dropped to a 6/10.

Overall:
5/10 this show bombed harder than *insert edgy 9/11 meme here*

Story & Writing:

Right off the bat this thing follows that shitty trope where every cute girl in the vicinity inexplicably wants to suck the protagonist's dick. While this was tolerable at first, it gradually became nigh insufferable due to how immature and passive-aggressive its cast of characters handle the situation. The "conflicts" and "problems" faced by these characters are actually very insubstantial and extremely easy to solve. Why? Because the cause of these conflicts are obscene to begin with. Characters will get mad at one another for just about any reason, and screaming at each other or having a crying party is usually the best ... resolution that this braindead show can come up with.

Also, it irks me that the main selling point of this show - the creative process behind a game - is mostly kicked to the curb in favor of drama, angst, and rom-com antics. If you came here for the game-making then haha fuck you.

Now, I don't usually include an entire section for the "characters" in my reviews because I think the characters are a part of the story and writing, and it's better to talk about the characters along with the story. However, Saekano's characters are special and warrant an entire section. Why? Because to understand why Saekano is so bad, we'll have to examine the characters.

Characters:

Up first is the protagonist, Tomoya, an oh-so-popular otaku and a prime medium for neckbeards to self-insert. He's also a popular blogger and one of the most popular kids at school, and I just cringed out of my fucking skin writing these two sentences. He is not the best of the cast nor the worst either. To me, he's just barely tolerable as a protagonist because he drives the plot forward to some extent and has a somewhat amusing personality. However, the way he treats Katou, the way he undermines her lifestyle and personality and tries to "mold" her into something that is more to his liking, feels extremely bizarre at best and slimy at worst. I don't understand this character dynamic. What is going on? What kind of person is the "right" person? The kind that you can jerk your little ding dong to as opposed to the kind that provides enjoyable companionship and emotionally fulfills you as a human being?

Katou was the only saving grace for this anime. She's the definition of chill and does not give a single fuck. I never get bored of watching her deadpan reactions to Tomoya's antics in her monotone voice. There's something so inherently amusing and soothing about her personality. She was a genuinely fun and interesting character who could have made this an enjoyable series but unfortunately, she can't negate the damage done by all the other characters, who are just fucking obnoxious cunts whose only purpose is to stew up some dogshit melodrama and angst.

Take Eriri for example: she's a whiny and narcisstic bitch who brags and bluffs to protect her laughable self-esteem but whines and cries whenever things don't go her way. She gets mad at the protagonist for extremely unreasonable things and is always the shit-talker. Her thought process and behavior verge on complete sociopathy, and in my honest opinion this bitch needs professional help more than she needs the protagonist's dick. This misstep in character writing came back to bite Saekano in its ass when Eriri's character arc inevitably comes around, and I am left sitting in front the screen swearing and fuming at how the show still expects me to take this dumb bitch seriously. Utaha is another stupid bitch who holds a grudge against the protagonist for not preemptively reading her work...? For not doing what she wants him to do because it goes against his personal ethics? These two bimbos constantly act as if they hate the protagonist, but the moment he announces that he's going on a date with Katou they become extremely passive-aggressive and obsessive, which is extremely childish at best and absolutely retarded at worst. Man you bitches need Jesus. And by Jesus I mean Tomoya's dick and some Xanax.

There is more to talk about here, but I don't feel like sitting here and typing up two or three more paragraphs for the remaining members of Tomoya's harem. I don't wanna spare the effort for Saekano when it clearly can't spare the effort for its audience.

tldr: most of the characters are extremely unlikable and they have about as much chemistry with one another as a catholic nun has chemistry with a pimp.

Art:
Mediocre and uninspired.

Sound:
Nothing too memorable. Once again, the picture of mediocrity.

Enjoyment:
6/10 The rom-com antics were somewhat fun while they lasted - before the show decided to shove its head up its own asshole pretending that it's something it's not.

Overall:
5/10

Story & Writing:

Kobayashi is truly the cream of the crop of its genre, embodying everything the slice-of-life genre has ever done right over the past decade. It's bouncy and energetic but also sweet and cathartic. This show's premise is a masterful balancing act between fantasy and normality. The fantasy aspect is emphasized just enough to give the characters and their daily interactions a bit of flair and intrigue, but not so much that it alienates the audience or shatters the happy-go-lucky mood of the show. It amazes me how well Kobayashi is able to grab your attention and not let go. Once the ball starts ... rolling in an episode, you're strapped in for good. You're sucked into the colorful and bouncy world of Kobayashi San-chi no Maid Dragon. It's funny, witty, sometimes profound, and is always a blast to watch.

One thing I cannot praise Kobayashi enough for is that it knows exactly what it is and what it wants to do; it never needlessly introduce melodrama or angst. Once in a while, the show will purposefully sneak in a serious but heartwarming moment or subtle life lesson, adding variety and depth to its message. These somber moments are sparse, ephemeral, and sweet, and I'm impressed by how well this show handles this aspect of its storytelling: it acknowledges the fact that life is not all fun and games, but while the fun lasts, make the most of it. It knows how to move on and return to its roots as a slice-of-life comedy with lovable and unique characters.

Needless to say, the comedy in this show (or any show) might be a hit or miss depending on the person. To me, it was a bullseye. Kobayashi's set-up and delivery of punchlines is textbook and effective. There is always a certain amount of wit and cleverness in each joke, and rarely do they feel cheesy nor over-the-top. It also helps that the show does a great job of mixing up its premise, setting, and characters every other scene, and even after 13 episodes the comedy still manages to stay fresh and interesting for the most part, something which cannot be said for a shit ton of other shows.

tldr:
If you're looking for a lighthearted slice-of-life anime to relax to, Kobayashi san-chi no Maid Dragon is as good as it will get.

Art:

For someone who has watched enough slice-of-life shows to make 5 whole lives, I can say that Kobayashi is one of the most colorful and gratuitously animated slice-of-life shows I've seen. Kyoto Animation abused the fuck out of their animation budget as usual, and as a result we get a product that's on par with god memes like Nichijou. Each and every character design is visually distinct and interesting. Intense battle scenes, while sparse, are packed with absurd sakuga and CG. The color palette, while extremely vibrant, is pleasant and not overwhelming to the eyes like No Game No Life.
Overall, I don't think I can fault Kobayashi with anything in the art design and animation department.

Sound:
The soundtrack is above average. The OP is adequate but the ED is surprisingly catchy. The background tracks are fitting and relaxing but not memorable.

Enjoyment:
10/10 sheer entertainment value

Overall:
9/10

Story & Writing:

Everything Shigatsu does explodes with a kind of strange and euphoric energy that really, really does "fills your world with colors, " demonstrating firsthand the uplifting power of a heartfelt melody. This show positively brims with joyful energy, a love letter to classical music and to the wondrous journey of self-discovery that everyone has gone through once in their lives.

The characters are all well-written and believable, with their own motivations, emotions, and backstories that make them feel as human as can be. They will trip and fall, will fumble and struggle, but the one thing you can always count on is ... their continued growth, development, and perseverance. By-the-book great character writing, not much more to say.

Now that all of that's out of the way, let's talk about everything that's wrong with this show.

1. The "comic relief" segments are extremely unfunny and often downright cringy. It doesn't help that these fuckers are everywhere - one every 2 or 3 minutes or so in certain episodes. They are extremely out-of-place and completely destroy the serious and delicate tones of a lot of scenes. This anime suffers from the same disease that plagues Hellsing and Drifters, in which the comedy is not just annoying but downright disruptive to the experience as a whole.

2. It's overly melodramatic, angsty, and downright cheesy at times. The usual pattern goes like this: melodrama -> piano performance -> angst -> piano performance -> melodrama -> piano performance -> angst -> etc etc ad infinitum. This show needs to know when to fucking stop repeating itself like a broken record. I swear, the dialogue becomes an absolute clusterfuck during the piano performances, which I'll get to later.

3. It comes off as a huge tryhard. Everything it does, from its animation, to its soundtrack, to its characters, its melodrama, its dialogue, while they're all very energetic and insightful, somewhere down the line they just feel very forced and pretentious. The show has a habit of oversaturating each scene with as many lines of dialogue, as many background tracks, and as many visual details as it can.

4. The characters need to shut the fuck up during piano performances. This must have been a manga to anime thing that didn't transition over very well. While it is understandable to have lots of dialogue during these scenes in the manga - where there is no sound and the only way to express music is to relentlessly describe it - this problem does not exist in the anime, and the dialogue should not be this excessive, and should let the audience "feel" the music, rather than tell them what they "should" feel, as is too often the case during these scenes.

Animation:

The amount of time and effort put into this show's animation is mind-boggling. To animate certain piano sequences, the director must have recorded a live performance of a real pianist, then pored through each and every fucking frame of video as he draws each and every frame of animation. Every kind of technology at the industry's disposal has been utilized, ranging from motion capture to 3D CG to pure traditional sakuga. This show's color palette makes you feel as if you've never truly seen what "colors" were before. Aside from maybe No Game No Life, I don't think I've seen another show with as vibrant and dynamic a palette and art design as Shigatsu. Everything about the animation oozes with a passionate love for music that cannot be fully described in words.


Sound:

The piano performances are the life and soul of this entire work. Are they worth sitting through the heavy-handed melodrama for? Oh fuck yes.
I was completely and utterly entranced throughout each and every single piano performance. As a person with considerable experience on the piano, I was able to pick up the nuances in each sound and each note, and was truly blown away. How many musicians were brought in to perform all these pieces in such specific but nuanced ways? The best way to watch these scenes would be to close your eyes and let the wave of sounds wash over your body.
Finally, I'd like to mention that Shigatsu's rendition of the hardest piece in my repertoire, Chopin's Ballade No.1 in G Minor, made me tear up for the first time in years. Having played it so many many times, my heart and ears were starting to take the notes for granted. Shigatsu relit the bittersweet emotions I felt when I heard this song for the very first time. I read somewhere that Chopin had just been separated from a woman whom he loved before he composed this piece, and as a result the piece encapsulates the joys and sorrows of love during the first two segments, then depicts the agony of parting in the presto con fuoco segment at the very end. Very fitting.

Enjoyment:
7/10

Overall:
8/10

Watch it for the music.

Story & Writing:

Re:Zero is to isekai anime what Evangelion is to mecha anime.

I fucking love Re:Zero. I love it to bits and pieces. It's an amazing thriller slash murder mystery, both of which I'm a huge stickler for. It's cool, dark, edgy, and exciting. It may not be for everyone, but to me it's the best kind of story: a story of blood, gore, violence, suffering, pain, kindness, courage, acceptance, growth, and ultimately, love. It is not afraid to fuck with its characters, to trample all over them and smash them into a bloody pulp and let them learn and grow from that torture. ...

Re:Zero writing follows the first maxim of good writing: "show not tell." A large part of its story is told through the characters' subtle actions or way of speaking, and there are numerous things that can be discerned about a character's personality and mental state just from their actions and interactions with other characters. Foreshadowing is always present, and clues are gradually revealed in such a way that if the viewer has been actively thinking, they may arrive at many correct answers. Good stuff.

On the flip side, there are some gripes I have with Re:Zero. One of them is how, due to the story's structure, the viewer may feel as if the story is not moving anywhere. After each death, the timeline resets and it's back to the same settings and characters as before. Although a LOT of things has happened, because the settings and characters are still the same each round, I sometimes get the illusion that the story has not moved anywhere. It does not help that some arcs drag on for maybe a bit too long. This series loves faking you out with unending plot twists and while this keeps the story interesting and unpredictable, just as how too many cooks may spoil the broth, too many plot twists may make the audience stop caring entirely about anything that happens.

[Spoiler paragraph:

Also, some characters did not get the proper character development or screentime that they needed. For some strange reason, Emilia, the root of all of Subaru's actions, get surprisingly little screen time and development relative to Rem. Also, Ram just feels neglected as a character, and strangely only her twin sister gets the spotlight. I don't know why the series is so obsessed with Rem, but I love Ram too, and she needs an entire arc dedicated to her and her only.

End of spoiler paragraph]

Art:

White Fox did an amazing job with the animation and bright color palette, and everything in Re:Zero looks vibrant and visually pleasing. Here the colors amazingly pop in a way that I rarely see in other anime.

Sound:

The soundtrack is goddamn amazing. Re:Zero's soundtrack is one of the rare anime OSTs that have managed to stick with me for days on end, to make me go on youtube and actively search out the most memorable tracks. The bass-heavy, psycho trance tracks by Myth&Roid fit this series like a fucking glove, and it would not be the same work without those tracks.

Enjoyment:

10/10 I was on the edge of seat the whole time.

Overall:

10/10

Story & Writing:

Spirited Away exhibits the surreal power to transport the viewer into a dreamlike stupor, to yank them into a fairy tale world where age is an afterthought and logic is trite. The only thing that really matters is the childlike wonder and excitement that envelops anyone who sets foot into Spirited Away's world. The last Miyazaki movie I've seen do this was Howl's Moving Castle, but there is no comparing the magical power of Howl to Spirited Away; the latter spectacularly trumps the former.

Spirited Away's story is nothing complex nor guttural; it's very simple but in the best of ways and ... for the best of reasons. After all, how can you feel like a kid again if the adventure you're following is as convoluted as Star Wars? The story is just the straight main path. It's the detours you take and acquaintances you meet along the way that adds color to your world. And fucked if Spirited Away is short on detours and sights to see.

The writing, as always for a Miyazaki film, is multi-layered and packed with detail. A child will understand 60% and still enjoy it, but an actively thinking adult will understand 100% and enjoy it even more. The dialogue may feel compact and simplistic at times, but that's not the only device through which the story is told; the characters' facial expressions, body movements, hand gestures, clothing, etc, etc, each tell a story of their own, and I feel as if only an adult, who has seen their fair share of human expressions and emotions, can truly pick up on the nuances that Spirited Away's myriad of storytelling devices offer.

[Spoiler paragraph:

My #1 favorite little detail lies at the end of the film: Chihiro's hairband glistens inconspicuously as she turns and look back one last time at the tunnel. This subtle light effect draws attention to her hairband, proving to the viewer that her journey was entirely real, and that maybe her journey will continue to live on and be "real" in the viewer's heart until the end of time.

End of spoiler paragraph]

Art:

It's insane to even think that this entire movie is hand drawn and traditionally animated - there is not a lick of CG to be found. The staff's passions and emotions ooze from every single frame of animation and hand-painted background to appear during the movie's 2 hours. Spirited Away is an incredible passion project, and deserves to be called a masterpiece in every respect, rightfully lauded for its impeccable art design, aesthetic, and animation.

Sound:

The trademark Studio Ghibli orchestrated tracks and piano tracks are all amazing; they fit every scene and underscores emotions like no other.

Enjoyment:

10/10

Overall:

10/10
I was glued to my seat, completely engrossed from start to finish. Watch it. It's an experience of a lifetime.

*minor spoilers*

Story & Writing:

"I expect this to be difficult for you to comprehend, given human emotions. However, we are fragile. We are merely a lifeform that cannot survive on its own. Don't bully us too much."

Kiseijuu was heavily inspired by The Metamorphosis by Franz Kafka and had the potential to be a 10/10 series but I felt it only made the most of 70% of its potential. Great concept with semi-realistic execution and amazing soundtrack. The transformation and internal struggles of Shinichi is very gradual and believable. His life is a balancing act between humanity and the parasites. The conflicts and unions of interests ... between him and his right arm are always interesting to watch, and although he vows to reject the parasites, claiming that he can never sympathize with them, he does come as close as he can get to a parasite without actually becoming one. The various themes explored are also quite intriguing, ranging from existentialism, nihilism, individualism, to the sanctity and cruelty of life. Kiseijuu is anything but one-sided in its treatment of the either sides of the conflict. Not only do the parasites slowly become more humanlike, but the humans also slowly become more like the parasites.

Or, rather, the humans have been the original parasites all along.

However, on the flip side the show is bogged down by dipshit scumfuck romance subplots, complete with extremely annoying love interests. The romantic triangle mini-arc completely destroyed the atmosphere and pacing of the story, and annoyed me to no end. Also, while Shinichi's girlfriend is interesting in that she serves as a beacon of the human world that Shinichi still has one foot in and is trying to pull the rest of his body over to, she's a useless whiny bitch whose only purpose every time she's on-screen is to bitch, whine, and cry. Halfway through the show my only desire is to see her die a violent death.

As I've said before, Kiseijuu only made use of 70% of its potential because some of its most compelling themes feel underdeveloped and not as fleshed out as it could. Instead, the show chose to allot too much of its runtime to action scenes and retarded romantic relationships. What a waste.

Art:

Madhouse's animation is a visual treat as always, with insane and ultra-realistic tentacle animations the like you'd never seen before in all 20+ years of tentacle hentai history. The movements and anatomy of the parasites are mind-blowingly detailed and life-like, greatly enhancing the immersiveness of the show.

The color palette consists mostly of very dull and dark colors, which fits in quite well with the atmosphere the show is trying to create.

However, I feel like Madhouse really pussied out on the gore department. A lot of the carnage happens off-screen rather than on-screen, and when the gore does happen it's usually out-of-frame or soft-censored. Fuck that noise. In a dark and violent story like this, gore goes a long way to set the tone. Don't overdo it, but don't understate it either.

Sound:

Damn holy shit. These electronic trance and dubstep tracks really blew my mind. I haven't heard an anime series with a soundtrack this good since Re:Zero.

Enjoyment:

7/10

Overall:

7/10 tbh I would kill myself if my right hand started talking whenever I try to jerk my ding dong.

Story & Writing:

Nowhere is Hayao Miyazaki's surreal magic more perceptible than in Howl's Moving Castle. He has the ability to turn adults back into little kids at the wave of his finger; at the drop of a pen. He sucks you into his world of imagination, holds you and does not let you go.

Howl's Moving Castle had me completely absorbed within the first minute of its runtime. I was so completely engrossed in its world, so vibrant and full of detail, that before I knew it, an hour, then two, had zipped by. The story, the characters, and the setting are all charming and ... captivating. Also, Miyazaki's trademark mind-boggling attention to detail goes an extremely long way to make it all the more believable and engrossing.

To understand why the writing of Howl is so good, one must understand the universal and unspoken rule of effective writing: "Show, not tell." Never does Howl underestimate the intelligence of its audience. It always shows us the pieces, and makes us fit them together on our own. It forsakes verbal exposition in favor of pacing and storytelling, and everything works out to a tee. It is as clever and witty as it is playful and humorous, but the truly amazing thing is how subtly the movie presents these elements to its viewers. For instance, punchlines are understated and low-key; foreshadowing is scattered all throughout and characterization is deep but subtle.

In other words, think of the show's writing as something that kids would understand 60% of and would greatly enjoy, but thinking adults would understand 90-100% of and enjoy even more.

There are a few gripes that I have with this movie, and one of them is that the character development happens too quickly. At times, characters seemingly fall in love with one another out of nowhere at times, their attitudes change so drastically from one scene to the next that it's disorienting if you haven't already picked up on the cues as to why that character has changed that the show must have dropped somewhere before.

Also, the movie became too cryptic towards the end. Context is seemingly lost and all conflicts got resolved too quickly and too instantaneously. But I guess at the end of the day, that's not the point of Howl. You don't need to understand all the fine details of the plot to enjoy Howl. You just sit back and let yourself get swept up by Miyazaki's magic.

Art:
Amazing. Not only is the scenery constantly vibrant and breathtaking, the characters' animations are something else. The way they move is so nuanced and packed with detail that these motions alone tell a story of their own. Also, the fact that every single animation frame is hand-drawn and every single background is hand-painted is mind-blowing. I don't think I've seen a lick of CG throughout the 2 hours of runtime.

Sound:
The fully orchestrated soundtrack is captivating and greatly heightens the effect of every scene.

Enjoyment:
9/10

Overall:
9/10

Story & Writing:

Black Lagoon asks you to take it seriously but then pulls out its dick and jerks off right in front of you. The intriguing and amazing criminal underworld setting is bogged down by the show's undying urge to cram as many action scenes as it can into its runtime, no matter how forced and absurd they may be. For an anime that tries so hard to depict a gritty and realistic GTA-like city, too often does Black Lagoon want you to suspend your disbelief so it can follow the "Rule of Cool" i.e characters can charge into a mob of enemy gunmen, guns ... akimbo, and massacre every single one of them without suffering so much as a scratch amidst the hail of bullets. Do the enemies have the shittiest aim in the world or are the characters protected by one too many layers of plot armor? This dipshit has a handgun but inexplicably charges straight at someone with a shotgun, asking to be blown to bits. This show is the absolute embodiment of "mindless action."

It's these inexcusable plot conveniences that completely destroy the immersion for me. I overlooked them at first but as they piled up higher than the tower of steaming bullshit that is certain story arcs, I began to lose my patience.

But I have to say, though: cool dialogue.


Character:

The characters are entertaining to watch. They're edgy, cool, and hard-boiled. Some of them even has decent backstories. They know what they're doing and has some rock-hard balls, which cannot be said for a shit ton of other anime characters. The action is what you come to see, but the characters is what has you staying.

Art:
For Madhouse, I thought this was a pretty mediocre production. The recoil on the guns feels weak and underwhelming. The gunfights just do not have the weight and oomph. Dead bodies don't get blown backwards like they should,

Sound:
Nothing special. Btw, WATCH THE ENGLISH DUB NOT THE JAPANESE SUB LOL. IT"LL BLOW YOU AWAY.

Enjoyment:
6/10 at least you can turn your brain off and decently enjoy this and not have a fucking stroke i.e Guilty Crown

Overall:
6/10 As Revy would say, "Fuck this."