OreGairu was definitely in my mind halfway through the series, but I can't help but feel that it has some bite, and this shy away from hitting the viewer, which lessened the supposed message.
Jaku-Chara Tomozaki-kun's setting is about self-improvement, the reasoning behind it, the relationship, and emotion that's attached to it. In a way, I feel it's more complex than just putting it down to "change", the cast is certainly impressive. The original novel got quite good reviews, with highlights about it helping put self-improvement into context and touching on certain facets that's not often discussed. I think the original work is quite intriguingly simple and entertaining. That's something not to be underestimated. Sure, conflicts are not too serious, and never quite reach the melodrama such as OreGairu, but it is still endlessly heart wrenching and self-reflective.
This is of course, a review of the animation. This is where I have an issue. Let's begin with direction. I don't have much negative to say about the animation direction, in fact I have little to say about it as a whole. It just unremarkable how pretty and detailed the background and the characters are, and how forgettable the animation was. This is why it's an art and not merely procedure work. It's not the first time I have had this problem with so-called "slice-of-life" animation works. I recently rewatch Girlish Number and boy was the animation work mediocre. That show focused on "moe" character's facial expression and movement which almost comically missing the point of the show. That might have been a "meta" thing, there's no excuse for this one. I think OreGairu season 1 deserved this criticism as well, but the animation style was just full of fun, exaggerating character's expression so much that the more dramatic season 2 and 3 with bigger budget felt a little too "serious". However, I think it can be given a pass as both seasons smartly focused on the right thing, the voice acting, line delivery and shifts between comedy/tension/drama. This, this is the safe, sensitised way to do it.
Of course, following animation direction is art. I think the art looks great. Despite the characters not looking as good as the gorgeous LN illustration by Fly, I would actually say some characters came to life in the adaptation, to varying degrees. That's not to mention the aforementioned gorgeous background. It's quality production.
Music doesn't quite hit me, but future rewatch might change my opinion. I was too caught up in figuring out why I wasn't impressed with the direction.
Overall, it's a good show and definitely worth the time. Doubly so if you ever have thoughts about self-improvement. Its core message is solid and it is doing more with the concept than going over it, eventually.
Extended discussion:
I think more can be said about the plot and characters. Some comparison to OreGairu is worth the time in my opinion. To begin, let’s address the controversy about the female lead's questionable actions. I feel that certain criticism her way was warranted, but letting it affect the examination of the work is rather misguided. Her actions are not meant to be “gospel”, I think her opinion regarding relationships, human interaction and such are one of the perspectives regarding “self-improvement” or “winning in life” and such. Her character of course is reminiscent of Yukino, albeit in this case, almost complete opposite methodology. I think she plays the role wonderfully, and much better than Yukino in OreGairu in representing a point of view regarding human’s interaction. This is due to her action and opinions are the driving force of the plot, unlike in OreGairu in which the circumstances brought out the faces of the characters. This is most representative in the way that their flaws are explained. Yukino’s facade of flawlessness came from her insecurities due to her family's internal competitions and tensions, in which she had to hold up her act. Meanwhile, Hinami’s flaw is something more fundamental to her personality rather than circumstantial. She was so competitive as a person that she put the burden to be perfect on herself and required everything to be competing, like her, to the point of cruelty. These are just 2 different philosophies to construct a story, and both play their roles in their stories.
Meanwhile, the contrast between Hachiman and Tomozaki’s goals is also indicative of what kind of self-reflection/story is being told. Hachiman came out as almost a superhuman sometime, willingly endured humiliation and ostracism to “achieve” his goal. Central to his struggle, what the story became about is how to be “normal”. He likes to see himself as being “the hero”, despite much of his monologues about him not being the ideal hero like Hayama. He thinks he can solve everything through his “soft touch”, but when it turns out not to be the case, as with the mess he had with the awkward “love triangle”, it made their relationship approach the point of collapse. This is of course, absurd, very far from anything remotely realistic. He’s the idealised version of what a middle/high schooler dreams of themselves in their own social clique. That being said, it’s the idea of such a person that’s relatable. The way they think and reason.
Contrast this to Tomozaki, who’s mostly ordinary in capability, except his godlike ability in video games. His struggle is to be “not normal”, in this case. To be more than what he is or was. This is about self-improvement. He might have been obsessed with making progress, but he was also eventually very keenly aware of the “authenticity” question of self-improvement. If you “improve” yourself, staying out of your comfort zone, are you still truly being yourself? Or are you merely wearing a mask of being a better person? Should you be a better person despite knowing it makes your “true self” miserable? Tomozaki alluded to this with the “love confession”, as he knows engaging in dishonest relationships hurt his conscience, something Hinami dismissed as “weakness”.
It’s clear that Hachiman is about how Superman is still human in the end, while Tomozaki is an ordinary human becoming a superhero and the identity and perhaps even ethical questions around it.
The self-improvement question posed by Jaku-Chara Tomozaki-kun is quite interesting. As I have elaborated, the clashing opinion regarding the methodology in self-improvement and motivation was somewhat answered in season 1. Your decision and commitment to self-improvement is part of your personality and journey. Not everyone would or could embark on such a journey, and it defines you as much as you define it. I have an anecdotal journey of not self-improvement but more of coming to terms with it. My friend who embarked on such a journey also distanced themselves from the world of anime and Japanese culture as they see it as an obstacle on their journey. I was distraught by it, thinking it would amount to nothing more than the rejection of oneself. However, eventually, I came from the same conclusion as the comic, that their shifting priority and mindset is just part of who they are from the start. This is no different from shifting taste as I aged in which works that I once worshipped seem paled next to those I used to despise or deemed boring. That’s just how changes are. It’s not necessarily destiny, it’s just curves on a track. That’s why I think Tomazaki belongs in the “meaningful” category.
Lastly, the contrast between the supporting cast to OreGairu is almost painful. I think OreGairu constructed the supporting cast too much around Hikigaya. Most major, recurring characters are mere love interests for him, so love comedy can happen. They almost didn’t change throughout the story. I would go as far as to say none deserve a spinoff, and all are beaten by Tomozaki’s excellent Nanami. Sure, she got a lot of spotlight early which might have helped her, but she is such a remarkable, defined character that if the main character, Hinami was to be removed, this would still be a compelling work about her. Yui would not have a compelling story about her, nor would Iroha, despite them both being very popular and admittedly loveable characters.
That brings me to the conclusion that OreGairu was definitely a more “melodrama”, entertainment focused work. Tomozaki is written tighter, with the self-improvement issue being front and centre and strong characters representing various connections to the issue. Sure, Hachiman is much more interesting and engaging than Tomozaki which seems more like a vessel or self-insertion, but I still find Jaku-Chara Tomozaki-kun to be pretty good and self-reflective. Between the two I would definitely prefer to rewatch OreGairu, but would recommend Tomozaki to a young audience.
