Horimiya is turning its back on its essence.
Horimiya is a simple yet functional work, it serves almost as a mirror of reality; a great basis for a romantic comedy show. When I was first discovering the manga, I was thinking about how those little details, of Miyamura making a mental note that Hori doesn't drink lattes, were an essential part of Horimiya. It was those small, day-to-day steps that shaped its development.
The premiere of its anime has been, perhaps, one of the great news of the year for that very reason. And yet, there is something that does not fit. A puzzle with blank pieces
...
that prevent that connection, so natural and clean, from working. Despite CloverWorks' efforts in an adaptation with a distinct character of its own, the little details are no longer part of its formula.
- Different spaces, different formulas.
The reasons for this dissonance between media can be understood in a small glossary that ranges from production terms to script decisions. A fact not exactly isolated and one that we have branded so many and so many times with the "book or movie?" discussion.
But even so, the effect it has on Horimiya is especially remarkable. Precisely because, as I was saying, it is a work that needs those little moments that serve as structure first and justify its evolution later. And it is a point that is especially noticeable in its first episode, which moves at a sweeping speed and draws a relationship between its protagonists almost spontaneously.
Beyond that, more than a few voices have pointed out the idea that Hori is presented in a negative way for simply taking care of her home and family, while Miyamura's stigmatization represents him on the opposite side. It is something that -without ignoring that the differences between both roles are still present- in the manga is approached as the impossibility of socializing due to her responsibilities and not for fear of showing a different facet from that of high school.
- Different, but not that different.
If the lack of these small details is the reason why Horimiya's adaptation loses part of its magic, the truth is that the way in which panels and scenes are transcribed denotes an affection worthy of a quality adaptation. The differences between manga and anime are practically nil.
In fact, even the evolution of the characters turns out to be almost as fast in the anime as it is in the original work, even though its adaptation seems accelerated. And that's because the key moments are maintained, but they are not everything. A bet that, while it keeps all its important scenes as an almost perfect reflection of its original source, it also forgets other fragments in full that serve the times of necessary pieces to build its story. The original sixth chapter, the trip to Kyoto, has no place or mention in its adaptation, thus eliminating one of the first collective stories with which to connect with its characters.
Yuna, Sota's friend, is almost non-existent in her adaptation. A character with little relevance that, however, serves as a bridge to shape some of the relationships in the story. Not only are elements eliminated, of course, it also affects the way in which they are altered. In the anime, we learn about the relationship between Remi and Sengoku in one of its early installments, when we have yet to become familiar with any of their characters. However, the manga delays this revelation to a much more distant point, when a point of no return has already been reached with the characterization and assimilation of the entire cast. That same scene leads to another in which Miyamura protects Hori from the rain to end up sleeping next to him later on. They are, I insist, small details that, little by little, help to build their relationship.
Another notable example is how the original episode 13 - the moment when they hold hands - is completely adapted. However, this is accompanied by two very short chapters with great importance for the development of their relationship that disappear in their adaptation to move to the sixteenth episode and adapt only the final pages of the next one. The result? That Shindo barely has a logical space in the anime and the effects of the fight between Hori and Miyamura seem to be summed up to her jealousy and not to that very natural fear that settles at the beginning of a relationship, as seen between the pages of the manga.
- Small gaps, big losses.
Far from being an exalted fan attack -let us remember that it is logical that an adaptation cannot deal with the same material as an original work-, the truth is that the cuts in Horimiya feel a hard change for a story that stands out, precisely, for its way of playing with the times. The fact that in just six chapters, six volumes have been adapted speaks a lot.
Horimiya has all the points to become one of the great anime of the year. And no wonder. It is a warm embrace at a time when entertainment displays of affection are an even sweeter incentive. That coupled with the skill of a studio like CloverWorks and the genuine innocence of the work make it a precious recommendation. Even when much of its magic is lost along the way, Horimiya still has a most remarkable charisma.
Still, that doesn't obviate the fact that the work has lost much of those little details that allowed us to get to know its characters better. An element that Daisuke Hagiwara captures to perfection in this need to give life to each of the scenes he takes from the original story of HERO. Far from being a bad adaptation, Horimiya's anime is a brief idea of what the series is really about. A window into this tender slice of life that serves as a summary but invites you to delve into the original story to discover how much a work as magical as this one has to offer.
Oct 4, 2021 Recommended
Horimiya is turning its back on its essence.
Horimiya is a simple yet functional work, it serves almost as a mirror of reality; a great basis for a romantic comedy show. When I was first discovering the manga, I was thinking about how those little details, of Miyamura making a mental note that Hori doesn't drink lattes, were an essential part of Horimiya. It was those small, day-to-day steps that shaped its development. The premiere of its anime has been, perhaps, one of the great news of the year for that very reason. And yet, there is something that does not fit. A puzzle with blank pieces ...
Reviewer’s Rating: 7
What did you think of this review?
Nice
 0
Love it
 0
Funny
 0
Confusing
 0
Informative
 0
Well-written
 0
Creative
 0Show all 
Jun 18, 2021
Akudama Drive
(Anime)
add
Recommended
Akudama Drive: The cyberpunk gem of 2020
Original projects are risky because neither the studios nor the public knows for sure what to expect from such works, however when they work they can be a breath of fresh air among so many adaptations of other material. Within these totally new works, the fall season left us with one of the most unexpected surprises of 2020 that opting for the most spectacular route takes us on a frenetic burning train without brakes, stops or emergency exits from beginning to end in an experience that is sold as the latest animated project with the talent and support of ... the master of the stupidly funny and violent, Kazutaka Kodaka, all packaged as one of the most cinematic works of the Pierrot studio in recent years. Starting with a brief synopsis, Akudama Drive sets its action in the near future in a dystopian post-war Osaka. In this cyberpunk megalopolis all law-breaking individuals are branded as "akudamas" or high-level criminals. Starting from this context, the story narrates the events that lead an ordinary girl to collaborate with six akudamas in a life or death mission. This may not be the most interesting synopsis, but it is the details and nuances that Pierrot and TooKyo Games give to this universe and its characters that make Akudama Drive such a unique anime. Mainly we have to highlight Kazutaka Kodaka, founder of TooKyo Games and developer of much of the Danganronpa anime, video games and novels. Although he is only credited with the idea and conceptual development, it is clear that he and his team have deeply influenced the aesthetic section of Akudama Drive. In addition to Kodaka, Tomohisa Taguchi steps behind the drawings as director after successfully directing the animated adaptations of the Persona video game franchise. This makes the aesthetic and visual experience we will receive from Akudama Drive very close to both video game franchises, making it a unique blend of Persona and Danganronpa. Lots of spectacle, little substance Some might say that this is one of those series that prefers spectacle over substance, but I think it would be better to refer to it as a show where the show itself is substance. While it might be tempting to look for a greater meaning to the events of a story about a group of criminals accidentally changing the world through their actions, in a huge conspiracy that if revealed would change the meaning of everything they know, this is a series where everything is right in front of your eyes from the first minute. The characters outside of a title or nickname lack names because they only need their role to act in the scenario of this futuristic city, backgrounds in the form of tragic pasts or clear future goals are the least of it, what matters here is the present, the here and now, the reason why they live the way they live and the reason why they are willing to die by their own rules, doing justice to its title of Akudama Drive by dealing with what guides, drives or moves the actions of the Akudamas. In a world where morality is gray and both law and crime have huge trails of corpses in their wake, this story about the biggest group of criminals committing the heist of the century that puts the peace of Kanto and Kansai at stake is a series of constant references to action movies - mostly American - with bombastic battles that has its message on a superficial level while enjoying the spectacle it presents to its audience, adding revelations and twists as it goes along. With a constant and ever-present moral ambiguity, this is a show about how its characters have defined their lives and eventually face the end of their journey by their own rules. From the one who was simply looking for a rival to give him a good fight, those who enjoyed playing with the lives of others, the one who sought to be proud of himself without allowing himself to be manipulated by others, the search for something entertaining in a life where everything seems boring, the cheating the world in the name of a good deed or simply living by the reason of never failing once you take a job, it is emotions and nothing but emotions that move the Akudama, for even if in the beginning they committed this crime for a reward, eventually money was the least of it on their way to an end that may be poetic or ironic to the way they lived. It may be somewhat illogical that really the interesting world of this work is only superficially seen, while the striking characters likewise are not developed beyond what their actions on screen let on with Hoodlum, Swindler and Courier being the only ones with anything that appears to be character development even if it is not explored, but this is not a series that goes for logic or deep messages, it's a series that is in search of emotion on the part of the characters and audience, which makes its moments memorable even if there's no logical reason for them to be so memorable in the first place, but that's okay. A direction full of details When I say that this show is pure spectacle, I mean it, abandoning the need for realism for the most artistic staging imaginable. Pierrot has brought out the best of his production team to give a show that is frenetic, chaotic, funny and at times beautiful. This is a work that does not hesitate to abandon internal consistency with perspectives, animation techniques, character positions or lighting, in order to make the scenery and overall aesthetics shine as a great part of the experience that is Akudama Drive with its retro cyberpunk. All marked with vibrant colors that capture the audience's eye along with the choreographed fights that result in scenes that are ridiculously fun to watch. Although the direction knows how to manage its tones, going from the most ridiculous fun in the violence of the events between criminals and law enforcers, to slower moments that allow a breather before we get back to the action, not to mention how the quality goes up with directorial choices worthy of a film project with the staging of the most emotionally powerful scenes like the climax of episode 6, or the entirety of episode 12 which is one memorable scene after another. Granted, the censorship in the TV version is inconsistent and annoying, plus the CGI at times isn't the best, even if the digital compositing is a marvel most of the time, but these minor issues can be overlooked, while most of the series looks good and the character designs give them enough personality to differentiate them from each other. The soundtrack is based on a mixture of rap and techno elements to give life to this world of tomorrow, but does not hesitate to add other instruments or styles if the tone of the scene in turn requires it. For those looking for depth in a message about law and order or human nature as they seek their own sense of freedom or self, those looking for complex characters with multiple facets or simply looking for something beyond surface value, Akudama Drive is a series that by logic should not work. However, human nature is not only dictated by logic, but emotion is a big factor in decisions and actions, and it is the emotional side that manages to build through the entertainment it offers that turns this simple production into a roller coaster of emotions that keeps the audience in their seats from beginning to end. Although it will depend on how much you can accept its ridiculousness and mostly one-dimensional characters, this series is one of the surprises of last year that I can't help but recommend so you can see for yourselves what can be achieved with a little madness in the best cyberpunk work of 2020.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Jun 17, 2021
Jujutsu Kaisen
(Anime)
add
Recommended
Jujutsu Kaisen: The latest animated spell of Jump
Featuring one of the most popular characters in current anime, Gojo Satoru, and one of the most pleasant contemporary EDs you could listen to on Fridays after a long and stressful week, Jujutsu Kaisen was crowned as one of the most popular anime of the 2020-21 season. Appealing to the prototypical shounen plot formula, where a high school student will end up, by chance, involved in supernatural events that will determine the survival of the human species, the anime started off on the right foot. Animated by the MAPPA studio, Jujutsu Kaisen has brought us one of the ... most striking choreographies, character designs and animated scenes of its seasons and, undoubtedly, ended up in the eye of the global trend. Our protagonist, the good amazing boy Itadori Yuji, will inevitably find himself alone after the death of his grandfather. An orphan boy with an amazing ability for sports and a heart of gold, he ends up as a container for a demon that could cause the end of the world inside his body. Along the way, he ends up enrolled in an institute for teenage wizards that leads him to be part of the core that makes up the holy trinity of shounen: the gold boy + the cool type boy + the genki cool girl; without forgetting, of course, the white-haired tutor in his twenties, dorky but handsome, who is cooler than a freezer. With clear arcs of presentation of the characters, introduction of certain mysteries of the story that involve the protagonist cell, appearance of the main bad guys and their speeches, somewhat dark twists to evolve the main character or the ever-present arc of the school tournament where more characters (teachers and high school classmates) will be introduced, Jujutsu Kaisen presented us with 24 episodes that managed to position itself, deservedly, among the most acclaimed of the season. With this, after great proposals such as Dorohedoro, Dororo, Banana Fish or Sarazanmai, MAPPA continues in a good streak of premieres, despite the obvious concern of the entire community in terms of labor rights and social welfare of its workers (discussion of another topic), managing again to present a quality proposal, which engages and is received by the public with enthusiasm. There are several favorable points that made me follow the series, of course, plus the related variable the fact that we are in a pandemic year in which you are supposed to stay at home. I would now like to briefly elaborate on a few points: - Potential of the story First of all, the cast of characters presented to us by the series not only seem attractive to me from an aesthetic point of view, but they are configured as characters that may have potential for development. Some have already presented us with some fragments of pasts with doses of angst and others a brushstroke of mysteries that surround their origin and shape their ideals/goals as wizards. Nurturing the first point, there is a clear goal to which the series aims, challenges that are configured around them and mysteries that make us want to know more about the story. One of the main questions that have me somewhat glued to the story are, "Why on earth does Sukuna have an interest in Megumi? "While I suspect it's because of his still mysterious origin, ability and position in the organizational structure of the wizards, it's clearly a good question that generates buy-in to the plot. Likewise, the story plays its cards right by providing clues to a plan that, for the moment, only the ultimate villain of the story knows and understands. This tactic works to capture the attention of the viewer who will seek to generate various theories around the premise. Also, I think that another important and interesting point for the development of the plot are the ideals and discourses behind 'the demons' that are opposed to the structure of the wizards. As far as I have been able to appreciate there is a certain extreme ecological logic on the part of 'the bad guys' against humanity. I still think there would be much more nuance missing about the motivations behind reviving Sukuna again and even the possible need to develop Sukuna himself as a character from his past, giving hints and even content to his "evil" and power. However, it is also interesting to contrast all this with the power structure of an organization that is not shown as sacrosanct throughout the anime. The mysteries, deceptions and abuses of power within the wizards also call the institution into question. Given this, the question that comes to mind is whether the boundaries between good guys and bad guys will be relativized in this anime? It seems to me a route that could be interesting to watch and, if well handled, support the dark atmosphere and full of tragedies that this anime has already presented us. - Action, choreography and shounen Jujutsu Kaisen is a prolific source of material that has filled us with clips and A-1 captures. Today more than ever, I believe that shounen stake their virality (and sometimes commercial success) on the presentation of at least one top scene that makes us praise the animators and their parents for giving birth to the hands that have allowed us to witness such a tremendous animated sequence. And, indeed, I must bring to the arena that some of the top scenes of Jujutsu Kaisen are in its action sequences - usually located at the climax of some plot arcs -, which have achieved a well-deserved vitality within the community. The ability to create such an appealing visual proposal is worthy of being named in the entry and to be appreciated through the great clips it has left us. Not only has it provided us with one scene of great climax and technical skill, but of several for each story arc presented. I have been frankly amazed with several visual proposals and with the sequences provided. I do believe, however, that the missing piece to achieve magic is a direction that manages to build the drama - adrenaline and plot-wise - to make them shine organically in the story. I think for example Kimetsu no Yaiba achieved the precise dramatic weight that contributed solvently to the story, deserving it the viralization of the story. Likewise, shounen anime such as My Hero Academia, for example, despite the various shortcomings I find in its proposal, manages to pull off great climaxes that are accompanied not only by a technical proposal at the height of that circumstance, but also by a plot and character development that mark inflections in their plots [Todoroki vs. Deku], [Bakugo vs. Deku], [Endeavor vs. Nomu]. I think that while Jujutsu Kaisen creates several technically adequate scenes, it still does not achieve that great final rush up that gives us goosebumps, the heart in our mouths and our brains racing trying to process what that scene means for the plot. Overall, both the action choreography and the precise comic relief are quite enjoyable to watch. After all, it is a story that is presented with a high tragic and dark charge. It should be added, that while it has had some arcs that have been duller than others, such as much of the tournament arc, I won't deny that it has pulled off a story with potential and has been given the technical weight that those of us who love this world have come to expect. Although, in this first season -at least for me- it hasn't managed to break that great apotheosis barrier with some of its great scenes, I think it's highly probable that it will achieve it in its next releases. Jujutsu Kaisen is a feast of character design and good action choreography. It has a story with potential, which is inserted within some of the various 'clichés' of shounen but with routes that are usually more associated with tragedy. After all, it is a proposal that poses a much darker atmosphere, which it tones down well by providing sequences of comic relief that are quite nice and that bring us closer to the characters. While I think it has lacked a better construction of a big climax, unlike other contemporary shounen, I think it has a good chance of achieving that last push of direction in future seasons. Anyway, it's a recommendation of its season.
Reviewer’s Rating: 8
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Mar 31, 2021
Deca-Dence
(Anime)
add
Recommended
The return of Yuzuru Tachikawa.
Last year due to all the situations going on around the world the summer season was a little slow in producing the great amount of anime that we had become accustomed to in past years, it has not ceased to surprise us with some quality bets that manage to demonstrate the talent and passion behind their productions. Among the titles I saw during that particular period, one of the biggest surprises came from an original series whose ambition is to surprise its audience with a premise that shows that you should not judge a book by its cover or in the ... specific case of Deca-Dence, you should not judge an anime by its trailers and initial appearance. Produced and animated by NUT studio with a total of 12 episodes, Deca-Dence is an original project directed by Yuzuru Tachikawa who you may remember for his incredible career at Madhouse being the director of Death Parade and Mob Psycho 100, at the same time he participated in projects like Kobato, Chihayafuru or Bleach. I mention his past at Madhouse because the story of Deca-Dence or at least its beginnings go back to those years, with many of the participants of projects like Death Billiards coming back together for this new work even if their busy careers prevented for quite a while that they would meet again even if the project was already being talked about around 2016. Character design was by Shinichi Kurita, cyborg design belonged to Kiyotaka Oshiyama from DURIAN studio, enemy design by Satoshi Matsuura, art direction by Takashi Ichikura, cinematography by Masashi Uoyama and Masato Takahashi directing the 3DCG elements. The music was the work of Masahiro Tokuda while the supervision and editing of the story was in charge of Hiroshi Seko. Not to mention various guest artists in specific episodes. Gadolls are beasts that destroyed the world, the few remnants of humanity are living in the mobile fortress Deca-Dence that despite depending on the Gadoll fluids to function is the greatest weapon available against them. The inhabitants of the fortress are divided between Tankers or civilians who are in charge of the maintenance and cleaning of Deca-Dence, along with the Gears who fight the threat of these beasts in a battle that seems to have no end. Natsume is a young Tanker who dreams of being able to fight, prove her worth and someday know the peace of the end of the conflict, but it is not until she meets an ex-Gear who will decide to teach her how to defend herself that her world will begin to change. Welcome to Deca-Dence, the most popular virtual reality game from Solid Quake Company. Developed as a controlled sanctuary for the dwindling human race, the company's cyborgs can descend into humanoid avatars to fight and protect the fortress that gives the game its title. Kaburagi was one of the best players, but seeing the heartlessness of the system where he is just one more replaceable gear among hundreds of other gears like him, he just waits for his eventual deactivation. But meeting a young Tanker will give him the hope and conviction he needs to try to change the system that rules the world. Deca-Dence is a story of parallels and contrasts, which with enormous ambition is packed in simple twelve episodes where it has many ideas and little time to explore them but gives its best to do so. Under the initial appearance of being just another story where humanity is trapped in a desperate struggle for survival, soon this work shows us how everything is nothing more than part of a system that to preserve itself and the status quo maintains the constant conflict considering each individual as little more than replaceable parts. Thus a young human girl who is unaware of the true nature of the world but wishes to prove herself and obtain peace, will become the reason why a desperate Cyborg who only hoped to stop functioning in a small act of defiance, would take the will to break the cycle. Doing justice to its name of decadence this is a work about the will to fight against a complacent system, the reasons to move forward despite the adversities and to find within each individual the value of individuality. All wrapped in a web of mysteries, lies and eventual revelations that starting from the second episode do not give any rest to wanting to know what comes next. Perhaps not everyone likes how from the beginning the viewer is taken away the blindfold behind the truth of the events, but the complicity in waiting for the characters to discover the truth is a hook that easily captures the interest if you follow their game, especially when in a complacent industry like the anime industry original works like this are extremely few. Although it does not reach exactly the same standards of Madhouse productions in which Yuzuru Tachikawa has participated, Deca-Dence is still an ambitious production not only at a narrative level but also at a technical level that shows off NUT's skills when it comes to work. Mixing more traditional animation with multiple digitally produced elements, this is a work with a sense of scale like few others, with huge sets and powerful framing of characters that give life to each of the scenes throughout the series. When this anime decides to stop for a moment it can be imposing using cameras, colors and the same scale of its scenes to present the ideas, all while the action scenes are frenetic with the strength and agility of their combats. However, if there is an element that contrasts like the story itself is in the character design, because although the humans are presented with the aesthetics of any other anime, the Cyborg are the ones who for better or worse steal the show. Their cartoonish appearance not only contrasts with the remnants of humanity that co-star in the series, but is also used as a distraction to demonstrate the darker and more brutal side of the series featuring lobotomies, slavery and other adorable situations. The only "but" with the production is that perhaps the mix of 2D and 3D at times leaves something to be desired, but this is one of those series that I want to see polished in the jump from TV to BD. Regarding the musical aspect of this work, I must say that this series has one of those solid soundtracks that are overwhelmed by the rest of the aspects in its production. Masahiro Tokuda's work is not particularly recognized with a relatively recent career in the manga/anime world, but he manages to give life to each of the scenes in conjunction with the other elements in a more than effective work. Overall the soundtrack is one of those that are best enjoyed separately, without being obscured by the rest of the elements. As far as sound effects are concerned the series is fine, managing to give life to the movements even those where gravity is altered. In terms of opening and ending themes, we have the opening called "Theater of Life" performed by the singer Konomi Suzuki that full of energy invites to adventure, while the ending is "Kioku no Hakobune" performed by Kashitarō Itō that with a nostalgic tone makes us think about the adventure that has been witnessed so far. It's far from perfect, but I'm not kidding when I say that it's easily the best I've seen in original proposals throughout last year's releases. With works like this the NUT studio proves that it is a place that offers quality works that even with the obvious CGI the brutality of putting details even in rubble in order to give life to their works ends up playing in their favor when it comes to immerse the viewer in their show and it is not the only one among its small details that earn the goodwill on my part. The only downside I can see is how with 12 episodes the series can not explore in depth its characters and some events seem to come out of nowhere, this to the point that reminds me a little of the comparisons between the films and the series of Tengen Toppa Gurren-Lagann where the first even if they contained the most iconic scenes lacked those times of calm where the viewer meditated the events and knew more facets of its huge list of characters. However, if there is one series that deserves to be given a chance, it is simply Deca-Dence.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Sep 22, 2020
Kakushigoto
(Anime)
add
Recommended
Comedy and tragedy can be interpreted as two sides of the same coin, where laughter and crying are two mechanisms used to face the situations in front of us. This duality can allow a work to deliver an enormous amount of emotional nuances if it knows how to play with these elements, in the case of the series to which I dedicate the review that concerns us on this occasion, it allows an author as peculiar as Koji Kumeta to demonstrate his peculiar sense of humor with a surprisingly emotional story about fatherhood, secrets and manga that goes from the sweet to the ironic of
...
his misadventures, but without fear to show the other side of the coin to demonstrate that there is something much greater under the secrets that this very work keeps hidden from its public until the last minute.
Kakushigoto (being a play on words between the protagonist's name, the secret term and drawing work) is an animated adaptation of the homonymous manga written and illustrated by Koji Kumeta, which began its publication in Kodansha publishing house's shonen magazine in 2015 and ended on July 6 of this year, with a total of 12 compiled volumes. The anime with a total of 12 episodes is produced by the Ajia-Do studio, who you may know from their recent work in Honzuki no Gekokujou, Isekai Maou or Shuumatsu no Izetta, although they also have their history of old ovas and help to other productions with a history dating back to 1987. The series was directed by Yuuta Murano, featuring scripts by Takashi Aoshima and a soundtrack produced by Yukari Hashimoto. Kakushi Gotou is a moderately popular mangaka for his work in perverted comedies, however, after being embarrassed in the delivery room during the birth of his daughter, he decides that he will not allow her to discover his profession in the future in fear that she will be ashamed of him. In the paranoia that he produced, he tries to be the ideal father for his little girl, however, he is placed in strange situations that complicate everything in what should be his simple life as someone common, however there is no secret that time keeps hidden forever and Hime will eventually have to deal with everything she doesn't know about her father. Kakushigoto is in simple words a tragicomedy about the secrets, misunderstandings and lies that people tell and their ramifications. In the usual idiosyncrasy of Koji Kumeta we are facing a work full of constant puns and humor that does not hold back in criticism of Japanese society, especially the manga / anime industry (although this series is the friendliest within his works in this aspect), but that at the same time surprises with a solid human drama about families that reaches the heart. With events that happen in two separate points in the timeline, this is a work that on the one hand presents the life of a single father and his daughter, with a rather lighthearted comedy tone, but at some point in the future it presents itself to us in a nostalgic tone like a lonely Hime reaching the truth behind her father, thus building with these two halves an element of mystery about how things have ended at this point that includes the viewer to the list of people who want to know the secrets that this story keeps hidden. Although known as an author who usually appeals to the surreal especially when it comes to the final turns, the work on this occasion is much closer to reality even if it is exaggerated to ridiculous points, under each white lie, under each omission or under every misunderstanding between its characters there are real emotions and insecurities that unite comedy and tragedy on the two sides of a coin that keeps you with doubts and theories from beginning to end, especially since the anime decided to cut a lot of the content of the manga in order to end with relative closeness between both creative pieces, the latter perhaps took weight off secondary characters but ended up highlighting even more the family relationship between Hime and her father Gotou, which is the very core of all this narrative although I do not deny that this leaves the "defect" that many details are of those that if you blink you miss them and can make the ending feel a bit abrupt at first viewing. Regarding the artistic side of the series, I must say that the Ajia-Do studio surprised me on a pretty positive note, especially when they had the stigma of being in the shadow of previous animated adaptations of Kumeta by the Shaft studio. Keeping the simple but stylized character design, the identity of the work is maintained, while the studio takes advantage of the opportunity to play with the settings. I already mentioned that the series has two narrative tones, but these are aesthetically highlighted by how the scenes are animated, those that belong to the past where we see most of the comedy takes a simpler and more colorful appearance, with a childlike innocence in the drawing. Meanwhile in future events the details become much more noticeable, with a more serious play of light and a use of sober colors that creates a constant contrast between the two halves of the series, continuing the existing duality in the narrative of the series. As far as the soundtrack of the series is concerned, we find one of the most subtle elements of it. We find a work that mostly uses its incidental music as a medium that accompanies the emotions of each scene, but without allowing it to distract from the other elements on the screen at any time. It's functional and enjoyable, but it's not the kind of soundtrack that you easily remember in the near future. For its part, the themes that always stand out in the series are the opening and ending, starting with the beautiful opening "Chiisana Hibi" by the J-rock band flumpool that manages to convey a feeling of joyful nostalgia and speaking of nostalgia, the ending "Kimi wa Tenneniro" by the late singer Eiichi Ootaki is an eighties piece that is nostalgic for the Japanese, it has the universal rhythms of an era that makes you go back in time. Even if it is one of the most familiar and earth-bound works among the entire list of works that can bear the name of Koji Kumeta, Kakushigoto, from beginning to end, is a roller coaster of emotions that for more corny, for more ridiculous or as tragic as it may be, it tries to tell us a beautiful story about family love and in my opinion it succeeds in an excellent way. This is easily one of the series that I recommend trying the most out of what has come out during the year and not only because I am a fan of what Kumeta has written, but because this series really is a quality work that deserves more attention.
Reviewer’s Rating: 8
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Sep 22, 2020 Recommended
The spring season of this 2020 was a curious case because of how few series were able to be transmitted without interruptions by all the events that happen in the world, however, even so, it managed to surprise with some of their titles. The series I am writing about on this occasion is one of those surprises, since overcoming the current prejudices of the isekais with titles too long to be remembered, it offered one of the simplest and most fun experiences on the billboard in the last three months.
Otome Gēmu no Hametsu Furagu Shika Nai Akuyaku Reijō ni Tensei Shite Shimatta, also called as ... My Next Life as a Villainess All Routes Lead to Doom !, or abbreviated as either HameFura (official abbreviation) or as Bakarina (informal) is an animated adaptation of the light novels of the same name written by Satoru Yamaguchi and illustrated by Nami Hidaka that has been published since 2015 (2014 if we count the web version that started everything) and currently has several spin off manga and a second season in production for some point in 2021. Produced by the Silver Link studio and with a total of 12 episodes premiered between April and June of this year, this series was directed by Keisuke Inoue, with the scripts of Megumi Shimizu, the work of Miwa Oshima in character design, while Natsumi Tabuchi, Hanae Nakamura, Tatsuhiko Saiki, Miki Sakurai, and Shu Kanematsu were in charge of the soundtrack. In a fantasy world where magic exists, Katarina Claes is a young noblewoman who since childhood acted spoiled and seemed destined to become the usual villain you find in this kind of world, however an accidental blow to her head allows her to remember her past life and how she lives now seems to be a setting from the otome game "Fortune Lover". Fearing that her role as the villain in the story will be fulfilled in this new life, she decides to do everything in her power to avoid bad endings, not knowing that her simple personality change has already done much to keep her from exile or death and she creates her own route. Hamefura's story is that of a clumsy girl who reincarnates in what could be a very bad situation, "brilliantly" she decides to try to avoid the bad endings in her destiny but is so blind to this that she does not notice how the script she feared has derailed just by being herself. There are no deeper themes or a wide variety of jokes in what could have been a story about fighting fate, but it is a comic series that shines because of how it embraces the execution of this simple premise and the enormous charisma of its protagonist. Although the latter is its greatest advantage and disadvantage, whether or not you like the protagonist separates the experience between fun and boring. Being an innocent idiot who does not wish harm on anyone, her tunnel vision does not allow her to see how she conquers practically every character in the story regardless of gender and the situations that she generates around her. However, not everything is relatively harmless comedy in this anime, the series allows itself to be dramatic at moments with many natural demonstrations of how the innocent protagonist changed the tragic backgrounds of many other characters in the story, but it shines especially when it decides to touch an idea that many of the current isekais ignore, what happens to the people and the world that is left behind? This will be a simple title, no doubt about that, but it has everything you need to function as an entertaining show from start to finish. Regarding the visual aspect, I must say that Silver Link has managed to give this series a nice look that accompanies its story along with the design of characters that are bishonen enough to be part of a true otome game, all framed in a effective palette of colors that bring this fantasy story to life. For its part, the soundtrack is everything you could expect for this series, an orchestra worthy of fantasy romance, which accompanies from the simplest to the most dramatic moments throughout the episodes. The opening of this series is "Otome no Route wa Hitotsu janai!" of the singer Angela, which is a joyful and sticky theme that is difficult to forget, the same theme that taking advantage of the fact that the anime's story is about destiny is allowed to refer to the famous Beethoven fifth symphony. For its part, the ending theme is the song "BAD END" interpreted by Shouta Aoi that surprises with its melancholic but energetic tone. Within all, this series is not more and it is not less than what you can expect from its synopsis, but it is done with enough care that it works without problems as one of the most entertaining isekais that I have seen in a long time, being one of the series that I enjoyed the most in the 2020 spring season - and it has nothing to do with half the billboard was paused -, I am quite satisfied with what I saw last season season. It is not one of those series to see yes or yes, but if you have the time it deserves the opportunity ... although knowing the base material, I do not know very well what to expect from the future second season ... But I'll cross that bridge when I get to it.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Sep 20, 2020 Recommended
It is popularly said that second parts are never as good as the originals, however from time to time history shows us that this phrase is not necessarily true. Continuing with the adaptation of what is one of my favorite romantic comedy manga and one of the most memorable anime of the past year, this time we have an ambitious sequel that decides not to stagnate in its previous success and chooses to experiment even more when it comes to delivering an entertaining and honest story about a teenage love who does not dare to be totally honest with their wishes.
Under the names of Kaguya-sama ... wa Kokurasetai, Kaguya Wants to be Confessed To or simply as Kaguya-sama: Love is War 2, director Mamoru Hatakeyama returns to action with his incredible team inside the A-1 Pictures studio to produce a new 12-episode season based on the eponymous manga written and illustrated by the artist Aka Akasaka, which was one of the few series that did not see its premiere time interrupted in the period of April and June of this year. This series had the same production team as in the first season. Shuchi'in Academy is one of the most prestigious schools in all of Japan, mostly attended by only the children of the wealthiest and most influential families in the nation. Our protagonists are the members of the student council of this school. The vice president, Kaguya Shinomiya, comes from a family that owns one of the largest companies in Japan. Together with the president, Miyuki Shirogane, who by common birth, managed to position himself as a teenage genius with one of the highest degrees in the country. In the time that these two young people have spent together, they have slowly fallen in love with each other but because of their pride they are unable to be the one who takes the step of starting a relationship. In this way both continue with their "mental games" so that the other is the one who confesses his feelings first. Being a continuation of the series whose main idea is that "lovers are nothing more than adorable idiots" the mind games and the appearance of an episodic series focused on humorous gags are still present in all its exaggerated glory, but at the same time the series between each joke it subtly spins the story about the insecurities, aspirations and the day-to-day life of its characters. With a subtlety that can make many small details go unnoticed by those who do not pay attention, this is a series that has fun playing with the usual tropes of the medium but at the same time shows love for what they can achieve when they are well implemented, always trying of maintaining a balance between these to allow being ridiculous and dramatic in equal measure, making the scenes and conflicts feel natural, while the situations vary according to the context delivered turning small recurring jokes into cornerstones after some of its most dramatic moments. If the first season was already a delight to behold thanks to the experiences of Mamoru Hatakeyama (director of Rakugo Shinjuu and responsible for the storyboards of series such as Hidamari Sketch, Madoka Magica or Arakawa Under the Bridge) and his team in what is the visual humor, we are facing a sequel that while respecting the quality of the base material has found enormous confidence to expand the jokes to hilarious levels, what were previously simple minor additions have now passed to complete segments where animation techniques and styles are used to play with the story to the point of being one of the most colorful shows so far this year. For its part, the soundtrack, although not as striking at first as the incredible visual direction, but it is still an essential element of the enjoyment of this series. Voices, background sounds and in general everything you hear serves to give life to each moment, the series is allowed to use from the usual sweet romantic melodies of a romcom to themes that would not clash in an action story, and there are even moments in where the soundtrack thinks it belongs to the horror genre, all this playing in favor of the humor and charm of the whole experience. Regarding the opening and closing themes, we have the return of the Japanese king of romantic songs, Masayuki Suzuki at the time of giving a memorable opening with "DADDY! DADDY! DO!" which ends in an even more catchy and energetic piece than Love Dramatic already was in season one. For its part, the ending is "Kaze ni Fukarete" by the singer Haruka Fukuhara, which gives a quiet melody with which to end each episode. Whether or not you are a fan of romantic comedies, Kaguya-sama: Love is War, both as anime or manga seems to me a good way to approach these kinds of stories by mixing recurring elements in a quite funny, light but quite emotional way when it has to be. But speaking of this sequel, we are looking at what it means to be a good sequel. Overflowing with creative passion which manages to put it together with the most ambitious productions of the year without any problem. This is one of those works that I can fully recommend and without any hint of doubts, one of the best romantic comedies of recent times.
Reviewer’s Rating: 9
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Jun 29, 2020
Eizouken ni wa Te wo Dasu na!
(Anime)
add
Recommended
Eizouken ni wa Te wo Dasu na!: Anime and its process
Continuing with another series of the winter season 2020 and continuing with the quarantine, we have one of the most artistic series so far this year and seeing what the future holds for us, it will probably have an important place among my favorite series that premiered. Being the most recent work of Masaaki Yuasa with the direction of series after having worked on the tape Ride Your Wave (2019) and the highly spoken adaptation Devilman Crybaby (2018). The series to which I dedicate this review comes to demonstrate its talents as a visual narrator ... in an idealistic story about creative passion, teamwork and the reasons why people love to create something. Midori Asakusa is a high school student who loves anime. Although she spends her days drawing all the ideas she has, she has not yet taken the first step to create one of her beloved anime, and she knows that it is an impossible goal if she is alone. The first to discover Asakusa's talent is Sayaka Kanamori, a girl who, although she doesn't have much artistic interest, shows a keen sense of business with which she aspires to be a producer. It doesn't take long for them to discover that a classmate, the charismatic model Tsubame Mizusaki, actually has the soul of an animator, so together they create an animation club with which to achieve their dreams of creating something. The story we find in Eizouken is a simple tale of passion and imagination in pursuit of creating something. With a group of characters of different personalities united in the common goal of creating, this is a simple work that tells us about the creative passion and production problems that can be found along the way, all in a rather idealized environment shaped by the power of imagination. In a sense it can be compared to other series such as Shirobako, in which it makes a comment on how anime productions work, although in this case on a much smaller and not so technical scale, further idealizing its proposal in the world of imagination. The honest simplicity of its proposal is inspiring at moments showing a lot of love for the industry with references and details, but it can become somewhat repetitive in its formula to the point of boring some people. However for those who are interested in animation or connect with the series, it is still a pleasant experience. In regards to the technical section and especially how the series looks, is where the really interesting is. Mixing Yuasa's particular artistic visions by adapting Sumito Ōwara's curious art, we are facing a series that, even though it is a school slice of life, looks unique among all the other series of the winter season. From the typical character designs to the chaotic stage architecture, everything shows personality. However the best and most interesting technical detail is how they represent the work process and the imagination of the protagonists with the animation changes, going from rough drafts to more stylized scenes as they take confidence and technique in what they do, in all a demonstration of visual creativity. In regards to the soundtrack and how the series is heard in general, I can only say that it is fine. The work of the voices for the characters is perfect and accompanies them at all times. For its part, music works when it comes to building the right atmosphere for each scene. For its part, the opening is "Easy Breezy" by the female rap duo chelmico, which is an energetic and catchy theme that, combined with its visuals, has become a favorite to be among the best openings of the year. For its part, the ending is "Namae no Nai Ao" from the mysterious masked musical group Kamisama, Boku wa Kizuite shimatta which with its rhythm and performance stands out. At the end of the day, Eizouken is a curious work that has caught people's attention and I hope it will pass the test of time ... or at least deliver a second season of its adventures. However, for better or for worse, it is a slice of life and as such shares its advantages and disadvantages. Being possible to interpret it as a love letter to the inspiring power of animation, or simply as an empty series where nothing happens, however I recommend that you give it a chance if you have not already done so, which may be that you are missing one of the most imaginative series of the year.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Jun 28, 2020
Ishuzoku Reviewers
(Anime)
add
Recommended
Ishuzoku Reviewers. Saving the world: a story for another occasion
As I read in another review, from the moment the final Ishuzoku Reviewers episode aired, the anime world lost some of its color. And it's not for less, Ishuzoku Reviewers is definitely going to mark a before and after both in the industry and in the community; not only for its enormous quality and its great daring, but for all the controversy that was always around it. My first impressions were me highlighting that this anime showed that there were still people in the mangaanime industry with enough balls to go against the established structures; and the rest ... of the season more than reaffirmed that idea. I could spend hours talking about its daring when showing sexually explicit scenes in an anime broadcast on open TV, or its genius in putting characters who are not princesses and who are totally assertive on the subject of sex. Even Crim, the angel, who initially may have played that role, was quickly corrupted by his peers and that shy personality was exploited in a much more mature and intelligent way. However, and fortunately, the strengths of this series go far beyond the above, because from that setting, Ishuzoku Reviewers told us very interesting stories and never wasted an opportunity to make an extraordinary world building, resulting in one of the best built fantasy worlds within anime. Not to mention, it always had enormous respect for women who functioned as succu-girls (the equivalent of prostitutes in that world). They were never forced, they could always reject any client, their benefits were important; even, in the episode of the sex change they were aware that they would be intimate with men who had become women (it was even indicated that most did not like that idea so there were not many options available) Even a positive approach to stereotypes could be seen, such as the case of the Cyclops girl, complexed by the smallness of her eye; who realized that, although for her people this was a mockery, for other races that aspect was attractive so it made her gain confidence in her work. Not to mention, the girl who asked for that review gained confidence in confessing to the human boy she liked. And again, the best thing about Ishuzoku Reviewers, by far, is the way they develop the world because the interactions and jokes are consistent with the rules that are revealed and with the characteristics of each species involved. Therefore, it is logical that the elf likes a human in her fifties because for him she is a girl, while for the human she is an old woman. And vice versa, it is logical that the human likes the elf because she looks sexy, while the elf cannot even look at her because she is older than her mother. Details like these are what make a good series and a good world. The fact that the bird girls have the detail of having a single genital orifice, that the lilim pay for sex because they need unlimited access of men; the detail that pure succubi have the cheapest rates because they benefit from sexual energy, but that they cannot lower their prices due to taxes and other things (such as unfair competition, for example) The topic that having a lot of sex with a dream eater can be harmful or why it is not convenient for a man who is under the spell of sex change to roam freely. It is that even the issue of the political parties and the government of that world is well thought out; It is no coincidence that the orcs (pigs) are the ones who rule because they literally offer bread and circus. This series even dares to make veiled criticisms of the established order. And obviously it was not going to stop criticizing its closest competition: the ecchi comedy series; it even criticizes ecchi series in general. They do not stop making you see how hypocritical it is to get you fan service in heaps that does not go anywhere, to the point that, in a sex scene, the way to censor it is to put one of the female protagonists taking a bath. In any conventional ecchi series, having one of the female protagonists take a bath is the most erotic scene you will find, but in Ishuzoku Reviewers it only serves as a curtain to censor the explicit sex scene that is happening at that time. There they can put this series in perspective with respect to the others. And I can not fail to mention that this series breaks with many paradigms that the mangaanime industry has tried to sell for years: 1) If the protagonists have sex, the series will not be popular, 2) What it sells in the comedy ecchi series is that sex never happens, 3) explicit sex only works in hentai or doujinshi. Just to name a few. Here you can laugh until you can't, and each intimate scene is more explicit than the last. In fact, the creativity to show the scenes does not stop just showing the act, but the staff dared to go further and play with the concept. So we have the famous mayonnaise sequence where it was cleverly shown how the pure succubus squeezed Crim to the last drop. Which even helped to reinforce the World building because it showed the disadvantage of doing it with this species. Although they can fulfill any of your fantasies (or all), you will end up totally worn out and unable to have sex for several days (one week, minimum) so it is better to go to these places when you are about to start a mission where you know that you are not going to to be able to be intimate for a good time. And this is just the tip of the iceberg, there is also the matter with salamanders, undead, golem, clones, etc. In each episode the new introduced species was always used to expand the world; So we understood that the undead are not popular, so they ended up almost being exclusive girls of the vampire count, or that you can build a golem to your liking, but that you need to be a very good artist or the result will not be very good. Or that clones are the best experience because it is the closest thing to having a girlfriend without having her. Ishuzoku Reviewers lives in the love that is put into the details and in how well built the characters and the species are. Not to mention how brilliantly builded the world is. All this without sacrificing quality in jokes, on the contrary, these rules are used to put them together. It is that they even took the trouble to explain why there are no condoms in the world and that, just as the protagonists benefit from having sex with the succu-girls, both they and the establishments obtain benefits from the transaction and many times they go beyond the economic. As, for example, the magician who takes advantage of her clones to collect samples from various races in order to analyze them and replicate their powers. In fact, they detailed the reason for the bad reputation of the demons. It turns out that they have a fetish for the contracts and must comply to the letter, but the point is that they must be well formulated because otherwise they are harmful to the other party. It is that they even put together a joke throughout the season, that of the lizard who became a magician for reaching 30 years being a virgin. For those who do not know, long ago the urban legend spread that if someone were a virgin at 30, they would become a magician. This myth is known to have started in Japan, but today it has spread globally. Obviously, Ishuzoku Reviewers couldn't pass up something like that. And on various occasions, the series dared to debate the very nature of reviews. Showing that the characters take their work very seriously, as when they discarded what they wrote when going to the alcoholic brothel because their texts were not of good quality. Or as when the madam of the brothel of the fairies makes them see that, although they received bad reviews because they could not handle large penises, that made them rain many clients since in all species there is never a lack of men self-conscious about having a small member. And of course, I can not fail to mention our beloved Meidri who will surely be one of the most popular waifus for a long time. It is definitely impossible not to love her, especially since she is the only one who manages to keep that bunch of perverts at bay. And boy, does she do a good job. Is that this series even had the luxury of showing as a footnote that our protagonists saved the world when they did an intensive campaign of missions as adventurers to recover the money they lost in the alcoholic brothel. In the words of the anime itself, that story is for another occasion. We cannot forget that the protagonists of this anime are elite adventurers. Heroes like those who star in the typical fantasy and / or isekai story one sees in anime, manga and / or light novels. The big difference is their attitude towards sex, which is much more assertive. And boy, is that detail worth gold. Finally, I can't stop talking about all the controversy that surrounded this series. Cancellations in the middle of the broadcast, criticism, the whole MAL issue and their objectionable handling in their score calculations, the attempt by some YouTubers to put it at the top of the portal's ranking, etc. It is clear that this series did not go unnoticed and that it generated intense debates within the community. In summary, Ishuzoku Reviewers was one of the best series of the winter season and for me it is material to be one of the best series of the year, at least in the comedy department. Hardly another series will come close in the near future. Hopefully this anime will open the eyes of the right people to realize that princes are not the only way to show leading characters in anime. From now on I will cross my fingers to see if they approve a second season.
Reviewer’s Rating: 8
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Mar 22, 2020
Bokutachi wa Benkyou ga Dekinai!
(Anime)
add
Mixed Feelings
At the time writing about the first season of this series, I was already referring to it as a simple series that without doing anything particularly innovative or striking in what at first glance seemed to be little more than a list of clichés to be fulfilled, manages to have its own charm and was one of the series that I enjoyed watching week by week. With the second season I have to say that it is a fairly similar case, it is still a romantic comedy with harem elements in appearance of the bunch, but with enough charisma to remind me why I like
...
this kind of series even with its small flaws, that its honesty in what it is feels comfortingly familiar among so many other works that try to play around with the metanarrative or the clever twists but fail in the attempt.
Bokutachi wa Benkyou ga Dekinai, also called We Never Learn or simply shortened as Bokuben, this review is dedicated to the second animated adaptation of the eponymous romantic comedy manga written and illustrated by Taishi Tsutsui. This second season continues to introduce us to Nariyuki's efforts to support the girls he studies with even if he ends up in occasional misunderstandings with them, as he begins to decide what he wants for his future. Following the simple but always effective formula of episodes dedicated by segments to the different girls and their interactions with Nariyuki with the occasional detail of character development, this is a series that does not go down the most dramatic path of romantic comedies, focusing usually more in the more comical and occasionally fanservice section of this kind of series, giving a greater focus of attention to the misunderstandings that make us think that the city and school where the whole series takes place has a very small population. In general I have to say that although it looks like your typical romcom from the heap, it has a solid enough execution to be an entertaining show. Unfortunately I must admit that despite everything I have a small problem, the series in order to reach certain most emblematic arcs of the manga skips quite fillers which is not necessarily a bad thing, but by the nature of this work small details of the development of its characters were lost at the same time. Nothing too serious, but I recommend that those who have only seen the anime give a reading to the manga, although the addition of an original ending to the series gives something of added value to the viewing. As for the technical work, I must say that it is still functional although nothing particularly wonderful. With everything and its occasional fanservice we are facing a series that is pleasant to see with its colorful settings and characters, although it shows when they try to save on small details such as when they ignore many of the hairstyle changes that Fumino has throughout the manga but that does not spoil the show. At times punctual yet corny the direction manages to bring more produced scenes to life, while offering compelling settings and easy-to-recognize characters including the quirky CGI dance scene that resulted in something worthy of any idol anime. As with its first season the soundtrack is similar to what animation is, nothing to complain about but nothing particularly surprising. The work on the voices of the characters is satisfactory and the soundtrack is energetic, retaining several of the already characteristic instrumental themes that the first season gave us. For its part, the opening of this season is the cheerful "Can now, Can now" performed by the series seiyuus under the group name of Study, meanwhile the ending is "Houkago no Liberty" performed by the singer Halca. The second season of Bokuben is something that I enjoy a lot week by week, but I really have nothing more to say that I have not written in this review. This is an honest series in its simplicity as a romantic comedy that connected with me by how familiar it is with all the early series I watched more than a decade ago. If you are looking for an intelligent series or one with a deep message, this anime is not for you, but if you just want something to spend some time with, give it a try.
Reviewer’s Rating: 6
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all |