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Jan 15, 2025
I'll open this by saying I've already said my piece about Magia Record. I've reviewed seasons 1 and 2 as well, with the general opinion that this show is on the surface, not good, and at it's core, a hot mess. This four-episode conclusion if anything felt like the last nail in the decaying coffin to finally put this poor series to its long-overdue end.
The few positives:
Kuroe dying was the best thing that could've happened in these last four episodes (which is setting the bar pretty low). It took forever for this series to have the nerve to finally put some stakes on things, so
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I was actually pleasantly surprised when Kuroe was killed off. Madoka Magica was never supposed to be about the hope of magical girls, or about how friends can save and lift up each other. It was about how despair can truly warp a person, and about the consequences of sacrifice. That's why, narratively, it made a lot of poetic sense for Iroha to finally experience a moment where her weakness and naivety resulted in the death of someone she cared about. It would've hit harder had Kuroe been more important of a character, admittedly, (a lot of her drama felt rather forced because of how insignificant she was in the series overall) but credit where credit is due. Magia Record finally had a moment where it "briefly" resembled the tone and message of Madoka Magica; even if her friends somewhat ruined the tension by showing up a few seconds later to cure her depression with "the power of friendship".
Magia Record's deus ex machina problem:
Despite the series being over, there are still tons things that were never properly explained at the end. In particular, it's generally good writing to have a reason for how the heroes work their way to a solution, but Magia Record has a habit of their solutions only consisting of hugs, tears, and sparkles. They ham on the emotion without spending time to explain how the characters' actions were able to result in the salvation of their friends. All of the Doppel-consumed girls are going to turn into witches? Oh, Momoko and Mifuyu can enter their dreams and convince them to keep their will to live. Walpurgisnacht is about to destroy Mitakihara city like how it does in the original Madoka Magica timeline? Oh, Ui gave Iroha her magic powers, and Yachiyo's dead friends did the same thing in the ghost world (which TOTALLY makes sense), so they're basically on par with God-form Madoka now and can thus destroy Walpurgisnacht in one hit. Which... doesn't that screw with the original timeline? Why on earth would they show Homura reversing time again after the credits if Walpurgisnacht was defeated in this timeline? Did Madoka somehow find a spare moment to die offscreen within that small time period despite everyone else's efforts? Which, by the way, should've all been reversed anyway since Homura was SHOWN using her ability? It just doesn't make any sense.
Regardless, the points I've brought up establish a firm pattern here. Magia Record can't create good exposition to save its life. Every time the heroes win, it's through extremely cliche or contrived means. Nothing is ever properly explained in this show, resulting in so many plot holes that the document they wrote the script on might as well have been made out of Swiss cheese.
Final Thoughts:
Shaft, never touch this series again. If you're going to attempt to continue the story of Madoka Magica, then bring on the proper staff for it, and don't do whatever you did to create this mess of a spinoff. It does not reflect well on your series if the characters, animation, and plot all manage to meet the same levels of mediocrity. I'm aware I'm biased because of how precious the original series is to me, but this show was clearly written to at least somewhat pay homage to its predecessor; so of course I'm going to be upset that it failed to do so to such a spectacular degree.
To wrap this up, Magia Record may have been a good mobile game like some people have said in the reviews, but as a stand alone anime, it's just bad. It failed to capture the essence of the original Madoka Magica because it focused too much on playing dolls with its new characters, and couldn't commit to a dark storyline where actions have real weight and consequences.
4/10, goodbye, and good riddance.
Reviewer’s Rating: 4
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Jan 14, 2025
Watching the second season so quickly after finishing the first season was a particularly interesting experience for me, and I'll explain why. I previously left a review for the first season of Magia Record, putting it at a 4/10. I won't elaborate too much, but to summarize in a few words, the first season lacked focus to the point where the first half of it felt incredibly slow, while the second half rushed to a conclusion quick enough to create a literal exposition train wreck. The second season is a little better in terms of pacing, but I honestly still believe that the bad pacing
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of the first season has resulted in the rest of this series being unsalvageable. That said, I'm going to take into account how well this season does as a stand-alone piece, as well as its value in the overall series just to be as fair as I can.
Season 2's Saving Grace: Hiroto Nagata
The animation for this series has always been in somewhat of a middle ground. It's not Power Point levels of stale, but it certainly has moments where frames are recycled, characters are stiff, and fight scenes feel short and uninspired. Yet, every once in a while (notably in episodes 1, 2, and 4), the animation will suddenly jump to 1,000x the quality. These moments, though sparse, never failed to put my jaw on the floor when they came up. High-paced action that my eyes have to race to follow!? Wild camera movements, and expressive, fluid poses for the characters onscreen!? In MY crappy magical girl spinoff!? Unheard of.
That's a joke of course, but to get to the point, I noticed an interesting pattern amongst the high points of emotional drama and animation here, and it almost always involved the individuals Hiroto Nagata (the animator of these amazing scenes), and Yukihiro Miyamoto (the original director of Madoka Magica). It really confirmed to me that the studio is truly to blame for a lot of the bad writing choices, and the rushed, unpolished animation sequences that were so frequently present. The passion for the original source material was still there, it was just smothered under the corporate decisions of those higher up.
Also, dare I add that this incredible animator, Hiroto, to my limited knowledge, was treated like dirt by Studio Shaft all while singlehandedly providing us with these gorgeous moments of animated eye candy. (A quick Google search pulled up a history of rather depressing Tweets. I hope he gets hired onto a better studio, it's really such a shame that someone so talented got stuck into such a lifeless project.)
Issues Carried from Season 1's Narrative Shortcomings:
To be fair, eight episodes absolutely helped to fix the pacing of the second season. The writers and animators were clearly allowed a broader window of time to work on this series, and it often shows. The plot of the Wings of the Magius was finally revealed, and the ambiguity of Doppels was, for the most part, corrected. (Though it’s still unclear how they were just arbitrarily “created” by Touka, but that’s forgivable at this point.) It still stands though that season 1 was painfully slow, so a lot of the shocking reveals presented in season 2 really felt like they could’ve been blended into the first season. Perhaps if less time had been spent on slice of life elements in S1 this could’ve been possible, but what’s done is done.
Something else that S2 managed to improve on was the tone of the story. It was a good decision for the writers to finally take things in a darker direction, especially since that’s what the original Puella Magi is famous for. Episodes 1 and 2 absolutely nailed the essence of the original series, all the way down to the color palette and sceneries. However, it’s important to understand that these episodes only work well as stand-alone pieces. Given how the rest of the season can’t seem to match the quality or atmosphere of those episodes, it wouldn’t be fair to rate the series higher as a whole.
It stands that because of the unstable way the world of Magia Record was set up in S1, whenever S2 tried to work with that material, the writing often fell into the same bad habits. It attempted to focus on too many characters at once (though to not as an atrocious degree as the first season), and was too timid to truly go all-in with making its themes dark.
(Just a side note: I really feel like someone from this cast should’ve been killed off by now. Character death wouldn’t inherently make the story better, but I just think that the Doppels being mostly harmless ruins the stakes. I want to be able to see the brutal consequences of the Wings of the Magius’ evil plan, but the current direction things are going leads me to believe that all of the Doppel-consumed girls are going to be fine in the end. Even Touka is showing signs of being a sympathetic villain, which is just a huge let-down. The lack of a proper "bad guy" or any negative physical repercussions for the heroes makes it difficult to get invested in anything.)
Continued Inability to Grasp the Source Material:
The arguably biggest problem with Magia Record’s season 2 doesn’t stem from most of these other factors. If S1 weren’t so awful, this season probably would’ve been just fine. Good, even. But one thing that it seems this spin-off series just refuses to get right, is its portrayal of Madoka, Homura, Sayaka, Mami, and Kyoko.
The first two episodes were off to such an amazing start. However, it’s true that within the context of S1, if an outsider who hadn’t seen Madoka Magica were watching these episodes, they probably would’ve been very confused because the switch to Homura’s perspective is jarringly sudden. After all, before this point, she and Madoka hadn’t appeared even once in the story. For most of the veteran fans though, it seems reasonable to say that these episodes were fantastic if you isolate them in of the context of Puella Magi. That said, isolating these episodes at all from the rest of the season just shows how clearly unsure the writers were about adapting Homura's story into Magia Record.
Magia Record’s attempts to fit Madoka Magica’s characters into the story are equivalent to a person trying to construct a puzzle using pieces from two entirely different sets. The characters of Madoka Magica are always either mischaracterized, or brushed off when they’re sharing scenes with Iroha’s group. In S1’s effort to set up its new cast, they forgot to spend time introducing the audience to Madoka, Homura, Sayaka, Mami, and Kyoko. It causes them to wind up just sort of “there” for most of the scenes. In fact, the show in general would’ve just been better if it’d committed to only having Tsuruno as Touka’s pawn. Mami being there not only felt a bit disgraceful because of how easily she let herself get fooled, but also pointless; considering how Sayaka manages to snap her out of her mind control on her first try. (Which by the way, those entire last two episodes just felt like “the power of friendship” coated in a different paint. Like seriously, that’s the best solution these writers could come up with? There are far too many convenient solutions in this anime for when things go wrong.)
In general, S2 in a vacuum is okay. The episodes are less episodic and more focused towards stopping the Wings of the Magius' plan, which is good narrative-wise. I still think this story has too many characters, but it did do a better job of focusing on each of them for an appropriate amount of time. Iroha was also a lot more compelling. They made her bolder, which is at least something to work with personality-wise. I still hate the blatant usage of the Madoka Magica IP though. It’s obvious that the characters are only there for fanservice, and not because they’re actually necessary to the narrative. I would’ve much rather Homura and Madoka not be there at all, if they were going to make the two of them this uninteresting.
6.5/10, the bonus points are for you, Hiroto Nagata. You deserved better. I’d say you should be hired at MAPPA, but I honestly don’t know if that’s a compliment or a curse these days. Maybe Ufotable's better?
(Also perhaps the real Madoka Magica sequel was the friends we made along the way. Pretty hyped for that Walpurgisnacht movie though, maybe that’ll deliver.)
Reviewer’s Rating: 6
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Dec 16, 2024
So for some quick context: I wanted to rewatch this series and compare it to its predecessor, Madoka Magica. I remembered watching it once when I was younger and having some very mixed feelings, so I thought I’d give this one a second chance to see what about it made me so frustrated at the time.
It did not take me more than a few episodes to realize what the problem with this series was.
Before I launch into a comparison between this show and Madoka Magica, I want to first emphasize what I noticed about this series by itself. It has a myriad of problems, but
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most of them I believe can be boiled down to the main character, the tone, and the storytelling.
The problem with Iroha:
Iroha is considered a passive-style protagonist, meaning that for the majority of the narrative, the plot influences and pushes her around, rather than having her actively affect it. From the beginning to the end of season 1, we constantly see Iroha in states of distress. Rarely does she solve problems using her own strength, she constantly has to rely on spontaneous plot elements to rescue her instead—whether that’s by being rescued by Yachiyo for the hundredth time, or having her Doppel activate unprompted. It felt like the story was always dragging her along; as if her only purpose was to serve as a pair of eyes for the person watching the show. Her actions so rarely seemed to have influence on anything that I legitimately believe she could be removed from the story, and little would change.
Iroha’s main plot point is that she’s searching for her sister Ui, but even with that, she has little personality outside of being a shy “good girl”. I didn’t feel like any progress was made on her character development either because of how little the plot ever focused on her. The story jumps around instead to all of the other characters, and honestly, despite how all of them seem to have at least some semblance of a backstory, we’re introduced to them all at such a rapid-fire pace, we hardly have time to like them before the story gets derailed again to make way for someone else’s arc. (Not to mention they all have repetitive moments of character inconsistency, but I don’t even know where to begin with that so I won’t even try.)
The tonal whiplash/storytelling:
As a reminder, Madoka Magica gets “dark” by episode 3; and before that point, there are eerie moments that allude to the tone of the story early to help build up the suspense. Magia Record didn’t reveal what the witches were until the last three episodes of the season, and even when it’s revealed, the tragic reality that Sayaka and the others spent entire episodes grieving over is crammed into a few rushed “lecture segments” that take barely 20 minutes of watch time. The reason I point this out, is because rather than focusing on the dark themes Madoka Magica had to offer, Magia Record replaces them with dragged out slice-of-life scenes and low-stake witch fights that have little to no bearing on the plot. There are moments of buildup in an attempt to hype up the Wings of the Magius, yes, but all of these scenes feel dialogue heavy and intentionally ambiguous for the sake of stirring that sense of “mystery”. It’s a case of show don’t tell, and Magia Record really struggles with it.
There are very little moments of calm in this story. It feels like every scene onscreen is filled with someone yapping about things that would’ve been better for the audience to discover themselves. Despite how Iroha is supposedly thrown into this city face-first, the plot just sort of hands her explanations at every turn—having her attach herself to the mystery by simply having long, boring conversations with the random girls she meets. (The show will really do its best to explain everything except how the Doppels work, apparently—which is arguably the most important element that needed to be explained because it’s a new mechanic.)
Also this is more of a side note, but I noticed that the color palette and music score for this show is much brighter than Madoka Magica’s, and the set design has for the most part lost that dreamy, liminal sense it had before. It’s a small nitpick, but I think it hurts the atmosphere of the show when you compare it to how vast, empty, and forboding the colors, music, and set designs were in the original Madoka Magica.
Comparing it to Madoka Magica:
To wrap up my last gripes with this series, I have to address how Magia Record completely and disgracefully fumbles its source material.
First off, the things done to Mami, Sayaka, and Kyoko were just atrocious. Mami’s character was reduced to an obsessive saint figure of sorts. She joins the Wings of the Magius to supposedly liberate the girls of Kamihama city, but this already contradicts her preestablished personality. Mami was flawed and broken. She obsessed over the praise Sayaka and Madoka gave her, but was terrified of death. She was selfish at times, and self-righteous, but she was never the type to try and play God like she did here—hence why she couldn’t outdo Homura’s madness in the end. Mami’s complexities were reduced to her trying to take on a boss role in the Wings of the Magius, which just felt so out of character for her. Mami of all people would’ve been one of the first of the original cast to be suspicious of a cult like that, yet she not only joins it, but enslaves her mind to their ideals without seemingly any skepticism.
As for Sayaka and Kyoko, they barely had any screen time at all, and jumped into the story just as haphazardly as Mami did. Kyoko at least was as characteristically nonchalant as in the original series, and didn’t buy into the garbage that was being preached at her, but Sayaka just showed up only to be curb-stomped by Mami. It made Sayaka’s arrival feel entirely pointless, and honestly disrespectful. Yachiyo and Iroha were also suddenly able to both use their Doppels for this fight, which honestly felt like the final slap in the face to end the season with. The moment was entirely unearned because Yachiyo and Iroha never were shown to have control over their Doppels until this point.
On that note, by the way, the mechanics of the Doppels feel unspeakably frustrating when you consider how they break the plot of the original series. Witches in Madoka Magica were presented as these inescapable, looming forces of nature that not only vastly outnumbered the magical girls, but were bound to destroy all of them in return for their wishes. By introducing the Doppels, which can easily cleanse soul gems without any problems, suddenly all of the consequences of not collecting grief seeds are lost. It takes away all of the tension and repercussions that came with choosing the life of a magical girl, and essentially uproots the concept of despair. It makes me question why Iroha and Yachiyo are even concerned about their fates anymore, since they can both clearly use their Doppels by the last episode.
I understand that the plot was building up the Wings of the Magius to having eviler intentions, sure, but so far the only thing wrong with their plan is that the members of the group themselves all behave weirdly cult-like. Nothing they’ve said thus far compels me to believe that their ideals are particularly bad, and yet Yachiyo is for whatever reason super against them. It’s infuriating that even by the end of the season, we still don’t know what their deal is—and there weren’t even clues given in the show to let the audience speculate.
Anyway, fundamentally, so much about this show was just mishandled. I strongly believe that had the plot been condensed, and had the tone committed to being more serious from the outset, it could’ve had some real value as a spinoff, but instead it just exists to blemish the original. It sincerely feels like this studio just wanted to borrow the Madoka Magica IP to make their own magical girl show with lower stakes.
4/10, not the worst thing ever, but still incredibly not worth it. Just watch the original series.
(Of course, there’s hope that season 2 will flesh things out better, but after 13 episodes, it just feels too little too late.)
Reviewer’s Rating: 4
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Feb 18, 2024
Zom 100 had no right being as good as it was, for essentially being a parody of the zombie genre, but boy is it a blessing on humanity that we were gifted with such comedy gold.
What everyone commonly claims makes this show great, is its subversion of expectation regarding the zombie apocalypse genre. Every episode is packed with optimism despite the bleak circumstances of the world, and that provides a fun contrast throughout the entire show that never seems to get old. It is incredibly satisfying to watch Akira shrug off his old job, and start afresh with exuberant ambition. Not to mention, the art
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style and animation are excellent, and the story is excellently paced. However, my favorite part about Zom 100 is something I don't think gets talked about enough, and it has to do with the show's ability to handle serious topics.
Zom 100 is fun and perky most of the time, but when it wants to buckle down and get serious, it truly doesn't hold back. The narrative happily talks about how much freedom Akira has gained because of the apocalypse, but reminds also of how much has been lost, too. I have honestly never seen such incredible and artistic displays of what depression and isolation can really feel like. This story isn't afraid to show how everyone, no matter their personality, upbringing, or social status, can experience hardship and trauma. Zom 100 is fun, but it's also very grounded and real. We've all felt trapped at a dead-end job, or been belittled by our own family, or been surrounded by toxic friends at some point--and this show captures those emotions, and shows how they can shape people into either becoming stronger versions of themselves, or corrupting them to the point of near irredeemability. It was such an inspired writing decision, and as silly as it seems, I feel like I learned a lot from this silly zombie show.
For all that, I think Zom 100 is incredible as a casual watch. There isn't a ton in terms of plot, nor is it original when it comes to tropes, but it's fun and laid-back, which works well for the type of message it was trying to convey. It's the type of thing you could sit and binge with your friends on a Saturday evening. (Though there is a significant amount of censored nudity, so that could be a draw-back to some people.) The emotionally impactful stories of the main cast were also a welcome surprise, and I look forward to seeing how this show progresses.
Reviewer’s Rating: 9
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Jan 23, 2024
Made in Abyss: a series which in my heart, I really wanted to love, but in the end was tragically disappointed by.
To be clear, I think this show is quite competent. The world building and concepts were fascinating. I loved the 7 different layers, and the corresponding illnesses that came from ascending in each one. The sense of foreboding and mystery was incredible in the first season, with the praying corpses, scattered relics, etc. It made me excited to learn more about the abyss as a place, and how such a harsh environment had even come to exist. But unfortunately, beyond all of that, that’s
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all Made in Abyss turned out to be: a list of cool ideas, stunted by underwhelming execution.
Problems with S1:
To reiterate, S1’s strengths were in the world itself. The first three episodes were set up perfectly—creating an apprehensive sense of dread around what awaited Riko and Reg in the unknown of the abyss. I felt genuinely afraid, and I loved it. It wasn’t until the main characters actually began their descent when I started to notice some negative patterns in the narrative’s storytelling.
My main qualms lied with Riko and Reg. Aside from behaving in ways that felt out of place for 12-year-olds, Riko’s consistent disregard for her own safety and lack of self-preservation got tiring very quickly. She experienced little in terms of character development, and seemed to be used primarily for “cute bait”—existing only for the purpose of being viciously mutilated when the plot wanted higher stakes.
(Also this is a side note, but I noticed an alarming amount of scenes where these *twelve-year-olds* had sexually questionable interactions, moments of nudity, or expulsion of bodily fluids. I can understand the desire to raise the story’s tension, but the ways these elements were used only ever felt uncomfortable and fetishy, and had very little relevance to the plot.)
Despite these factors though, what made S1 special was Nanachi’s arc. Her arc was the first time Made in Abyss presented conflict in a way that was not only dark, but grounded. She had lasting psychological repercussions that made her hesitant to trust others, and behaved in ways that logically aligned with her character motivations. She was flawed, and her complex desires and maturity of knowing when to back down from a fight made her much more compelling than Reg and Riko; who struggled to learn these basic survival principles up until the end of the season.
Season 1 would’ve had so much more gravity to it if the characters actually responded in an appropriate way to the abominations they witnessed. I was expecting to watch as the MCs slowly lose their grasp on their sanity—to witness them struggling to maintain their vigor with each layer they descended. I wanted to see them second-guess themselves and question their desires, only to eventually resign themselves to their choice; crossing the point of no return. Of course, I recognize a lot of this is my own opinion, but I still stand by the fact that keeping the tone cheerful despite the horrors Riko and Reg experienced was the very thing that undermined Made in Abyss as a story.
Problems with S2:
Basically, add up everything in season 1, plus a myriad of questionably written story beats, and you have season 2. The story introduces the Golden City: a location in layer six where hollows have been dwelling in peace for centuries. It was an interesting idea at first, but in order to make way for all of these new characters’ tragic backstories, Riko, Reg, and Nanachi are unfortunately forced to take a distant backseat.
The characters Faputa and Vueko were alright in terms of development, but were introduced in a way that felt way too abrupt. We hadn’t received any prior implications or foreshadowing about the Golden City in S1, so rather than watching satisfying lore elements click into place in S2, we were overwhelmed by a loosely related side-quest which the main characters merely stood by and witnessed. Everything felt jarringly out of place as a result, and the conclusion was unsatisfying because of how little anything changed afterward. (Which, I can’t help but observe that Faputa basically committed immense war crimes to accomplish her goals by the end, yet was painted as a hero despite that due to her self-proclaimed “noble cause”. That’s not really an ideal message to be sending…)
In the end, season 2 wasn’t terrible, but it just didn’t mesh well with the original plot. It would’ve made more sense as a movie rather than an entire arc of the story.
6/10: excessive suffering, and inconsistent, convoluted plot elements. I miss the sense of foreboding from season 1.
(Also Nanachi had a severe lack of screen time. She got done so dirty, and no one talks about it enough.)
Reviewer’s Rating: 6
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Jun 9, 2023
I felt like I had to speak out, because the number of people discounting this show just for temporarily surpassing Fullmetal is disheartening.
Oshi no Ko is genuinely an incredible piece of work. The art style is consistent and gorgeously unique, with a significant amount of detail added to not just the eyes, but the movements, colors, foreshadowing, poses, and expressions of the characters. The themes are deep and introspective, and the message is able to portray itself without the isekai plot point distracting from its serious tone.
The Show's Characters/Message:
Each character has so much depth to them, which is something I remember seeing in the author's
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previous work, Love is War. You can tell every character has a skeleton in their closet--pieces of themselves they don't want others to see, which parallels well with the ongoing theme of "lying is the greatest form of love", and "lying is the best way to protect yourself". The mannerisms each character exhibits subtly reveals their insecurities as the story progresses, along with the type of person that lies beneath their personas. You can just FEEL the pressure on everyone's shoulders as they put on their best performances, and that's a hard feeling to convey without ever verbally spelling it out.
This show touches on a very touchy subject matter--the flaws and inhumanity within the entertainment industry; mainly in the idol program, and acting field, but also includes YouTubers, musicians, magazine models, etc. The show really portrays how it feels to be the characters--the constant pressure to please as an idol, and having to tip-toe through your every decision; how there's so little room for human flaws and mistakes... some of the latest episodes even touched on what it feels like to be flamed online for making said mistakes, and I genuinely mean it when I say it was hard to watch. The emotion here is so real and raw--the swings of depression and euphoria one can experience as an entertainer, and how those emotions can potentially warp you to the point of becoming a different person. It's all so accurate and heavy, while still keeping a generally lighthearted tone, and that astounds me.
All that said, Oshi no Ko still manages to keep the plot points central, and at no point watching did I ever feel "preached at". The mystery and intrigue remain interesting, and plot is engaging and fun. Specifically, we get to watch as Aqua calculates and deceives his way to the top of the acting industry with rather dark motivations, and through his journey, we are shown what it's like to suffer as an entertainer--to fake a persona for the sake of viewership, to behave in ways that might contradict one's own morals, just for the sake of a single movie or photoshoot. We are shown these things without it ever feeling like the author is trying to shove a message down our throats.
That said, the show's not for everyone. It's perfectly okay to not be interested in introspective pieces like this. Lots of people would prefer more of the classic shounen tale, and that's fine. I would recommend this show more to Violet Evergarden and A Silent Voice fans, and consider it to fit in that genre of emotion-heavy storytelling.
My only hope is for those that really appreciate the series take the message to their hearts a little. The entertainment industry is messed up, and so is the internet that constantly feeds off of it. Oshi no Ko is meant to spark those sorts of discussions, so here's hoping that others can be touched by the message just as I was, and gain some awareness of these problems to potentially cushion the psychological strain entertainers have to endure.
Reviewer’s Rating: 10
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