Back to GamerUnglued's Profile GamerUnglued's Profile

During the late afternoon, as classes ramble in the background, two girls sit together in the shade of their school's gymnasium. Boxed in by a fence, and the threat of being found, they take solace in each other's company, both being loners who feel distanced from those around them. Perhaps they read, or just talk, or play ping pong, or rest in each other's laps. In some ways, this place is a cage, but in other's it's more like a sanctuary, shared with someone truly special, someone who gets them. It's this feeling of distance yet warmth that begins Adachi and Shimamura.

The first thing ... to note about AdaShima is that it is SLOW. Like, as slow of a burn a slow burn romance can get. It's atmosphere is quiet and melancholy, and it's in anything but a hurry to make progress. It stars two characters who are each in a form of stagnation, and the pacing highlights that to a palpable degree. Adachi loves her time with Shimamura, and wants to make their relationship even more special. But she's awkward, insecure, anxious, and grapples with a bit of internalized homophobia. She is the one who has the ability to initiate progress, but she struggles to express her feelings, out of a fear of rejection, insecurity of being seen as a weirdo, and generally being terrified of not being a special person to Shimamura, nervous of going too far too fast. Meanwhile, Shimamura holds the most power in the relationship. She is ultimately the one who is capable of allowing for progress, but she is detached, emotionally distanced, and terrified of intimacy. This conflict is what drives Adachi and Shimamura. Two characters who both want to make progress, who want to be closer to each other, who each have to overcome stagnation in order to do so.

But the way I've described it, this almost makes it sound like a very generic romance story. A shy character trying to express their feelings to someone they feel is out of their league, or with who they don't want to distort an already existing relationship. And while this is a part of the narrative, I don't think it paints a fully accurate picture of the series. For one, while Adachi is the one who initiates progress, it is Shimamura who holds power in this relationship, by means of consent. Shimamura is extremely depressed and emotionally detached. She has an inability to form long-term relationships, and she justifies this to herself as a natural fact of how life works; that relationships will inherently break off. When people try to get close to her, she instinctively pushes them away. She's lonely and scared, and in her internal monologue undergoes a constant push and pull of wanting to get closer to Adachi but wanting to avoid intimacy. She has some, as she calls them, "superficial relationships," but that's as far as she knows how to go. This is her stagnation, and it's also the key to her and Adachi getting into a relationship, no matter how much Adachi might attempt to make advances.

To highlight the dichotomy between these character's very different mindsets, AdaShima constantly switches between their perspectives, having most episodes led by one of their internal monologues. And there is a sharp contrast in their perspectives. Adachi's perspective is generally light-hearted and awkward. She's a dorky character struggling with endearing and relatable fears of being rejected by the person she loves. She tries to plan out the right words, she imagines silly scenarios in her mind about potential interactions with Shimamura (ranging from sweet to sexual), and she obsesses over even the tiniest amount of progress, going as far as to keep pieces of garbage if they are tied to a special moment between them. In contrast, Shimamura's perspective is always melancholy. Her internal monologue highlights her internal conflict: her isolation, loneliness, and desperation. She comes at you with these genuinely deep, sad lines about the nature of relationships for her, and they hurt to say the least. She paints this picture of someone suffering under the weight of her own loneliness, who feels like they're drowning, or breaking apart, and are desperately fighting to overcome that no matter how much pain the solution may come with. Adachi's perspective is very romantic, and captures all the adorable dorky awkwardness, insecurity, and most importantly, wonder of being in love, while Shimamura's perspective is more poignant, and drives the series themes. Of these two perspectives, I generally find Shimamura's to be the most engaging. Adachi's is very fun and sweet, but Shimamura's digs at the core that serves as the series beating emotional heart. Almost all of most resonant moments come from Shimamura's internal monologue, and I find her journey to be the most powerful thing about the series. Shimamura has become a very special character for me, one who I painfully relate to, and who brings to light some of the most frustrating things I hate about myself in a way that is simply raw.

I've heard it said by people frustrated by the series that they wish Shimamura figured out Adachi's extremely obvious feelings at some point. But I believe that to think she doesn't figure it out is a gross misinterpretation of Shimamura's character. In fact, I would go as far as to say that she is acutely, consciously aware of Adachi's feelings at least as early as episode 5. Shimamura is perhaps a tad dense, but she's also very observant, and keenly aware of her relationships with those around her. She knows that most of her relationships are superficial, and it is Adachi who struggles to figure that out, only realizing that the smile she gets from Shimamura is the same as the one given to those around her relatively late into the series (a very sad realization that says a lot about both characters). But Shimamura shows that she knows something is up with Adachi pretty quickly. When Adachi invites her to hang out in episode 3, and Shimamura runs into Yashiro (who I will talk about later), Shimamura brings Yashiro with them to ease the tension and make the moment less intimate. When Adachi invites Shimamura out on Christmas in the most awkward way imaginable in episode 5, she grapples in her internal monologue with the idea that Adachi sees her as special. In this scene, she almost refuses the date because she can't handle the idea of being seen as the only person Adachi wants to be with, and when Adachi tries to make the scene less awkward, Shimamura twists her next lines to justify to herself that Adachi would want to go out with anyone, and that it doesn't matter that it's her. This is the nature of Shimamura's character. She clearly wants to be with Adachi, but she's too afraid to be seen as special and be let into others lives, and she constantly finds ways to justify their relationship and it's inability to progress, despite the fact that she is ultimately the one who refuses to allow that progress to occur. I find her extremely compelling for this reason.

I've been mostly talking about Shimamura, and that's simply because I find her to be the series strongest asset. Adachi is a wonderful character, she's immensely endearing and adorable, and her perspective drives quite a few of my favorite moments. In particular, their Christmas date in episode 6 is a standout episode that captures the wonderful joy of being in love better than most romances I've seen, culminating one of the series most memorable moments. But ultimately, I don't have a whole lot to say about her. This isn't because she's not a compelling character, but Shimamura is just more complex. Adachi is wants to be seen as someone special to Shimamura, and is grapples with the fact that Shimamura is extremely distant and detached from basically everyone. Adachi is also starved for affection, likely due to her distant relationship with her mother, and like Shimamura she feels distant from everyone around her, though in her case it comes from feeling like an outcast. She is genuinely fantastic, I just have less to say about her much more straightforward arc.

I think the thing that makes this series so slow is that there isn't a straight line for their progress. Each of them constantly progresses and regresses. Shimamura will finally let Adachi in just a little bit more, before slipping back into old habits almost instinctively. Adachi will finally find the guts to confess, but immediately take it back just a little bit to ease the awkward tension. This means they never make large strides together, but instead make small steps towards personal growth which ultimately contribute to the progression of their relationship. What keeps me invested is that the two just share astoundingly good chemistry. Their dialogue is understated, but believable and has a really addicting rhythm to it. I just adore the times where they simply talk, just the two of them sharing a mundane moment together. Combined with the series strong atmosphere and effective direction, it manages to be a moment-to-moment delight just as much as the more poignant moments hit.

Compared to the main cast, the side cast is decidedly more of a mixed bag. I mentioned Yashiro before, who is a little alien girl taken as a cameo of sorts from another of this author's works. She gives the series a bit of magical realism, and at times is something of a mentor for Shimamura, incidentally providing goofy metaphors about drifting through life while fishing together. That being said, she drops out of that role pretty quickly and ends up relegated to being a side character who shares an admittedly pretty cute relationship of her own with Shimamura's younger sister. Shimamura's two friends Hino and Nagafuji don't make the strongest impression, with the first thing Hino does being to grab Nagafuji's boobs in public. Actually a lot of her dialogue early on has to do with grabbing boobs now that I think about it. Thankfully she calms down quite a bit after that, and her and Nagafuji get their own little side arc which I also found to be pretty cute. They still play a small part in the main story as Shimamura's "superficial" friends, and I do find their (post episode 1) personalities to be endearing enough, but I wouldn't say I particularly love them, and I'm happy they play a relatively minor role in this story.

The most noteworthy side character is Tarumi, who is Shimamura's old friend from elementary school. As Shimamura is grappling with her feelings for Adachi, Tarumi comes storming back into her life during the latter half of the series, and they start to rekindle their old friendship. At first I thought she would be more of a romantic rival, but really her presence serves to make Shimamura realize just how much she loves Adachi, as their relationship fails to resemble what they had as childhood friends. "Reality ages far less gracefully than memories" she thinks to herself after hanging out with her. She has her own personality and character arc as well, and is a very solid addition to the series cast. Easily the series strongest side character.

Visually, Adachi and Shimamura is a mixed bag. It's biggest visual strength lies in its cinematography and storyboards. It's not rewriting the wheel, but it's conventionally very well shot, and utilizes the medium of animation effectively. Weather it be caging the girls in their sanctuary of the gym, which contrasts the time when they outgrow that and finally rejoin their class, or highlighting their isolation and loneliness with effective color changes and framing, it nails every emotion it seeks to highlight. When Adachi revels in a small moment of intimacy, the colors change to something totally joyful and the camerawork becomes equally intimate, allowing me to sink into the mood and enjoy Adachi's small step just as much as she does. But when Shimamura falls to the bottom of a pool and monologues about how detached she is, the visuals genuinely make it feel like she's drowning. It's Shimamura's monologues that bring out some of it's most striking visual moments. I particularly appreciate how it uses it's lighting. It has some very particular lighting quirks, with a saturated yet faded style to it's color palette, and background lights highlight some super memorable moments, such as the wonderfully romantic end of the couple's Christmas date. The series biggest visual failing comes in its animation, which is often stiff and moves only just enough to not be a slide show. The character designs occasionally struggle to stay on model even in the most mundane visual moments, and it sometimes feels like the character designs are too detailed for the production to keep up with. The series also has some really awkward and jarring male gaze shots of the girls thighs, highlighted by the exceptionally short skirts of their school uniform. It's not exactly a huge issue and it's not too common, but that only makes it even more distracting when it does come up, and there are times where the shots are just so intentional about including fanservice that it feels completely at odds with the series grounded approach, occasionally taking from the atmosphere. Thankfully it only happens occasionally.

The series soundtrack is really wonderful. Like the series itself, it's grounded and down to earth. It's littered with light piano tracks and percussive tracks, and utilizes strings bring out the best of it's melodies. The whole OST screams "melancholy adolescent coming-of-age," which makes it a perfect fit for this series of adolescent anxiety, angst, and warm romance. Tracks that play during it's more intimate and romantic encounters tend to highlight the strings more than anything, and make those moments feel just that much more romantic. It's probably my favorite 2020 anime OST, always highlighting the mood and with quite a few tracks that stick out in my mind. It's a delight to listen to (hell I'm listening to it right now), just as the show itself is to watch. The show is also blessed with really fantastic vocal performances from Akari Kitou and Miku Itou as Adachi and Shimamura respectively. They both nail their characters so perfectly, giving more grounded performances than most shows, dialing back all the cutesy anime talk for something more real. They're exceptionally emotive yet also subtle. They're standout performances in my opinion. Saeki Iori's performance as Yashiro also deserves some mention, perfectly capturing her eccentric, excitable personality.

Relationships are a complicated beast to get into. Few things take as much effort to build, as much work to maintain, and as much pain to navigate. Adachi and Shimamura is, at it's core, a work centered around this dilemma. Each of it's titular characters struggles to overcome stagnation in some form, to move beyond their awkwardness, insecurities, and fears of intimacy, and ultimately to find the wonderful warmth of love and belonging. In presenting how scary it is to grow closer to a person, and let more of each other into your lives, it nails it in a way that's raw and poignant. But Adachi and Shimamura is also a deeply romantic series. It reminds me of how wonderful it can be to fall in love, how it's worth all the fear and awkwardness for that small moment of triumph, like someone has heard your feelings and responded in kind. AdaShima can be sad, it can be angsty, it can be poignant, but the ultimate feeling I take is that it's warm. It is empathetic to it's characters fears of intimacy, and so revels in it every time they find some solace in a small victory. Adachi and Shimamura is about two lonely people navigating the complicated feelings of adolescence and loneliness, and by the end, they're still on their journey. But the progress they've made, the relationship they've forged, it warms my heart in a way few series do. It's a show that didn't just remind me the joys of being in love, but also made me fall in love with it in the process. For all of its visual and writing shortcomings, the strength of its titular couple, their (particularly Shimamura's) internal monologues, and it's most memorable moments, have etched their way into my heart, cementing Adachi and Shimamura as one of my favorite anime romances.

I don't know about you, but I find that interaction is difficult. Putting effort into things which ultimately provide nothing but some surface level satisfaction often comes with the price of mental and even some level of physical exhaustion, and frankly that's not a fair trade. So why do so many people choose to be so active? It's so much easier to just not waste energy. "If I don't have to do it, don't do it. If I have to do it, make it quick" is a catchphrase that rings very true, and also which defines Oreki Houtarou at the start of Hyouka.

Hyouka follows ... Oreki as he is forced to join the Classics Club at the behest of his older sister. A character who defines himself by his own laziness and desire to "conserve energy," he gets by while committing as little as possible to everything he has to do, feeling like those around him are deluding themselves believing in a "rose-colored" life. Thinking he can just put his name on the club sign-up form to satisfy his sister, he ends up meeting Eru Chitanda, who's captivating presence and tendency to not think about personal space (in a way that's endearing and well-meaning) forces Oreki to stay and changes him for the better. Alongside friends Satoshi Fukube and Mayaka Ibara, Oreki and Chitanda go about solving various mysteries and discovering themselves in the process.

Many often make the mistake of calling Hyouka a mystery anime, and get disappointed when the mysteries are mundane questions about things that happen all the time but which most wouldn't think about at all. With mysteries about why a door that should be open is locked, or the nature of an announcement over the intercom system, one might question how it could be compelling. But this mundanity is a purposeful decision, because Hyouka is not a mystery series, but a character drama. The first episode sets up Oreki's laziness but he quickly shows cracks in his facade, revealing that rather than being lazy, he doesn't want to commit himself fully to anything because he is afraid of finding that things aren't quite what they seem. He is incredibly smart and has the impressive talent of deduction, able to very easily put numerous pieces of evidence together to solve mysteries which most would give up on quickly. But despite his talent he refuses to use it. His issue is one of fear and self-esteem, and it becomes apparent that he believes he is unable to achieve this "rose-colored" life which everyone else seems to be saturated in. Chitanda is very much the opposite of this. Almost like a dog, anything and everything makes her immensely curious, to the point where it bothers her not knowing answers. As each provides something the other wants, they are drawn to each other.

Oreki is immediately captivated by Chitanda's overwhelming presence, and his attempts to escape before being forced to expend energy and commit to solving mysteries are quite literally blocked by Chitanda, because Oreki's knack for solving mysteries is invaluable to someone who is fascinated by every mundane thing imaginable. It's through this interaction that we see Oreki's true feelings. He initially attempts to con Chitanda with a fake mystery, but the guilt plagues him. Slowly, we see that perhaps Oreki hopes he can find the rose-colored life more than he lets on. This is where the mundane nature of the mysteries comes in. Chitanda represents the ideal of the "rose-colored" life, and her curiosity about everything stems from her ability to find beauty and meaning in everything. In essence, Hyouka posits that to be truly satisfied and fulfilled, one must engage with everything around them to some degree, and that for the low price of some energy you can find some level of satisfaction that makes life feel more meaningful. So Chitanda makes Oreki engage with these mundane mysteries, forcing him to interact with things he never would have given a chance before and allowing him to feel the satisfaction one can find in daily life. The mysteries would not work at all if they were more grand, because they need to be applicable to things which Oreki will interact with often, rather than rare, special events.

The stars of Hyouka are the characters, and the mysteries are the vehicles through which they grow, change, and discover themselves. Of course, this means the characters have to be interesting, but Hyouka provides a cast that is endearing, relatable, and multi-faceted. Oreki is a complex and nuanced character. He may be drawn to Chitanda but he is also afraid of change. Through solving mysteries with her, he comes to understand the worth that his talent has, and finds satisfaction in a potential "rose-colored" life. He doesn't change immediately, and he's scared and unsure if he even wants a "rose-colored" life at first, but slowly he starts to become less reluctant to Chitanda's prodding, and at some points he even actively seeks out his own mysteries. His growth is slow, but its rewarding, and the main reason for Hyouka's massive success. But though Oreki may be the character with the most focus, the rest of the cast shines as well. Chitanda's curiosity stems from a desire to understand people, and herself. In learning about her past and her circumstances, we get a more complete picture of her person, and slowly we learn about the insecurities of a character who at first seems perfect. Her relationship with Oreki is a highlight of the show, as they each slowly open up to each other and bring out the best in each other. While their feelings do seem to blossom into romantic feelings, this is not the focus, but regardless, the dynamic between the two is thoughtful, endearing, and emotionally resonant.

Satoshi and Mayaka are also complex, multifaceted characters with their own personal and interpersonal struggles. Satoshi sees himself as the reverse of Oreki. While Oreki refuses to give anything his all but is great at coming up with answers, Satoshi is energetic and gives his all to everything, but is not able to come up with answers of his own, calling himself purely a "database," something which can only provide information, but not connect it to a bigger picture. Throughout the series, it becomes apparent that this is an insecurity for Satoshi, and his jealousy of Oreki is a compelling part of his character. Balancing it out is Mayaka, who basically has it all together. She's smart, thoughtful, and mature, with a hilariously snarky personality, although she's not quite as extraordinary as the other three. Her relationship with Satoshi is also compelling, as she is waiting for the immature Satoshi to come to grips with himself and allow for a more balanced relationship, something which Satoshi is well aware of as he strives to grow. This is not to say that Mayaka doesn't have any of her own insecurities though. She is very opinionated and easily gets emotional over certain things, namely about manga and the nature of judging what a masterpiece should be, and she is at least disappointed that she doesn't provide much to the solving of mysteries bar some personal connections. Ultimately, she's an endearing character who is both a goal for Satoshi in terms of maturity, and she provides balance for a great cast (as well as certified best girl).

Hyouka doesn't have much of an overarching plot-line. I would call the series semi-episodic, as each episode or arc is complete on its own, but adds to the characters overarching development. This is not an issue, since Hyouka is completely character driven, and the "story" is that of Oreki and the others growing as people and discovering themselves through solving these mysteries. Even though the mysteries are mundane they are not boring, not only because of what they provide for the characters, but also because of how creative and well-thought-out they are. Because the series can't do more "compelling" mysteries thanks to its high school setting, it finds creative ways to incorporate standard Sherlock-style mystery plots without sacrificing the believability of it's setting. For example, instead of having a murder mystery plot-line, it has Oreki and the gang figure out the remaining plot of a murder mystery film after the script-writer falls ill and loses the script. Structurally, the mysteries are similar to those of classic detective stories, many of which are even directly referenced in the show. The series is most compelling during its three-episode school festival arc, which hides hints and details in the bustling, energetic event as we explore the various classes attractions and give each main character a chance to shine, until a big twist and a satisfying conclusion tie it all together. The mysteries are not so easy that you can figure them out with no issues, but also not so difficult that you have to be a master detective to pick up on the subtle clues. I only managed to solve one mystery before it ended, but I never felt the series pulled something out of nowhere, or that I couldn't have solved it with more time, and that ability to play along with the characters as they discover new info makes the mysteries that much more fun.

Perhaps the best part about all of this, and the elephant in the room, is Hyouka's astonishingly gorgeous visuals. I am not even remotely exaggerating when I say that, at the time of this writing, I believe that Hyouka is arguably the best looking anime which has aired on TV. As gorgeous as Unlimited Blade Works and KyoAni's own Violet Evergarden is, what puts Hyouka above both of them for me is it's creativity, variety, and cinematography. Kyoto Animation is known for providing in-depth characterization and character development solely through visuals, providing subtle visual cues in the characters body language and how the camera frames them to showcase their mindsets at all times, usually without dialogue or exposition. For example, at the very beginning of Hyouka, great care is taken to put us into Oreki's headspace, as he is usually cloaked in dark shadows and placed in the corner of the frame, isolated from other characters, while his friends and especially Chitanda are bathed in bright light and open, spacious shots next to large crowds. Hyouka's visual storytelling is perhaps better than any of KyoAni's other anime because it goes a step further in how it portrays everything. For example, I said earlier that Oreki is immediately captivated by Chitanda's aura, drawn deeply into her eyes after trying to leave the room. Hyouka portrays this as Chitanda trapping Oreki in the corner of the frame while blocking the door on the other side. Oreki then looks into her eyes, beginning an absurdly gorgeous and immensely detailed cut of Chitanda's long, beautiful hair, now with flowers, ensnaring Oreki in a rose-colored filter. Without a lick of dialogue, we see the extent to which Oreki refuses to commit himself, how much Chitanda's curiosity eats away at her through her good-natured but overbearing treatment of Oreki, Oreki's curiosity of Chitanda and the rose-colored life she is surrounded by, and how Oreki sees her in general, as gorgeous, overwhelming, and impossible to ignore; all in a short but absurdly memorable and iconic moment thanks to its creative and powerful presentation. This visceral nature of Hyouka's visuals extends into the mysteries as well. There are numerous segments where the characters will posit their ideas about each mystery, which are accompanied by a different art-style, from a pop-up-book look, to paint-on-glass animation, and various styles that fit each scenario. Looking at each of these moments reveals something about the character giving the information, and its that level of detail that puts Hyouka above most anime visually. And even beyond that, the series has visual motifs that change with the characters mindsets, such as how the shadows that I've been mentioning as cloaking Oreki change as his mindset towards the "rose-colored" life changes. The show likes to trap characters in the frame or between objects, and things like colors, ripples, and reflections are consistent motifs that change alongside the characters, and are worth looking out for. Hyouka is not just pretty colors wrapped around nothing. Each moment tells us something important about either the mystery or the characters, and does so in the most creative and emotionally affecting way possible. It's absolutely stellar directing that shows why Yasuhiro Takemoto (Maid Dragon, Lucky Star, Disappearance of Haruhi Suzumiya) is one of the industry's very best.

Hyouka's soundtrack is littered with classical music, such as Bach's "Cello Suite No. 1," and Gabriel Fauré's "Sicilienne," among others. These tracks are massively fitting for Hyouka, providing an air of mystery and melancholy as well as a hint of beauty to compliment the grounded story and earthy tones in the visuals. The actual original music is also very wonderful, understated but enhancing the tone of each scene. It's not the kind of music you'll listen to on your morning jog, but it's fitting for the series its a part of and its best tracks bring me back to specific moments from the show, which is in my opinion the true mark of a great soundtrack. Hyouka also has 2 OP's and 2 ED's, 3 of which are fantastic. The OP's each use visual motifs, ripples and reflections respectively, to show a facet of Oreki's character, backed by great musical showings from ChouChou and Saori Kodama. Hyouka's second ED is my favorite of the bunch, with an adorable show of detectives Chitanda and Mayaka apprehending the criminals who stole their hearts while their voice actors sing about it. The first ED is kind of lame imo, and has the only real fanservice in the show (apart from the episode 11.5 OVA which I don't really care for). Speaking of voice acting, its great. Oreki is the perfect combination of cute deadpan and emotional self-doubt, and Satomi Sato's performance as Chitanda shows an incredible range both for the character, and compared to her other notable roles like Ritsu from K-On and Chiya from Is the Order a Rabbit. While Hyouka's visuals are often visceral and powerful, with subtlety when appropriate, Hyouka's audio prowess underscores it, providing a balance to the technical side of this production.

As much praise as I've been lavishing on to Hyouka, it is not a perfect series, and while the amount to which these flaws may bother you will vary, I think they are very much worth pointing out. First and foremost, Hyouka is the epitome of a show that's not for everyone. It's slow paced, and entirely lacks in melodrama. It's certainly very cute, but it's not really a "moe" anime. The appeal of this show is in slow-burning drama with gradual, realistic, and understated character development. It's very much the kind of coming-of-age story Kyoto Animation is known for excelling at, only without the consistent cuteness and laughs of K-On, the melodrama of Clannad, the bombastic imagination of Chuunibyou, or the intimate romance of Tamako Love Story. It's completely mundane, and that certainly won't appeal to everyone. The same goes for its semi-episodic structure. After the festival arc, the series ends on a long string of single-episode mysteries. Personally, I don't find this to be a problem, as each of these episodes contributed greatly to the characters and also serve to show that this is still daily life, and that the mysteries they solve will often be mundane and not always multi-episode "epics" that take lots of time and energy. This portion of the show even hosts my favorite episode of the series, which involves Oreki and Chitanda sitting alone at a table and trying to figure out the nature of an announcement calling a student to the office over the intercom. It sounds boring, but like always Hyouka makes it compelling. Finally, I want to touch on the ending, which is surprisingly controversial. Hyouka ends without fanfare, with no drama, no big revelations, and perhaps most controversially, no romance despite some build-up. In my opinion, Hyouka ends perfectly. Oreki has grown a lot by the series conclusion, but he also still has plenty more growing left to do, and him confessing at the end of the series would be way out of character for him at that point in the story. It wraps up the main character arcs, but leaves open a few threads for a potential sequel. If you are someone who needs a definitive and concise ending, Hyouka could disappoint you, though I personally don't agree with that assessment.

So in the end, Hyouka is one of my favorite anime series of all time. Oreki is an immensely relatable, complex, and endearing character, and the rest of the main cast follows suit. The mundane mysteries are purposefully used to allow Oreki to interact with things he sees every day and find meaning in things he refuses to look at, and the presentation of these mysteries and the way they affect the overarching character growth keeps them from being boring. Hyouka is drop-dead gorgeous, impeccably directed, and overflowing with visual creativity, and backed by an understated but noticeable soundtrack that enhances the mood, and by 2 great OP's and one top tier ED. It's helped by strong vocal performances all around, and the series is a joy to watch in general. Hyouka has an understated beauty and resonance to it. It's relatable, poignant, and compelling, and if the idea of a grounded, realistic slow-burn drama appeals to you, than you basically can't do better. The characters in Hyouka legitimately change, and witnessing these small changes add up is immensely satisfying. Much like how Oreki learns to engage with the world around him, should you choose to engage with Hyouka, perhaps you will be one step closer to the satisfaction found in a "rose-colored" life.

Simple mundane life can be a beautiful thing. We don't realize it, but every single day, we experience things that shape us as people, and we have always experienced those things, ever since we were born. While I love watching a heartfelt drama, a showcase of the bigger events that can inform our most important decisions and cause the most visceral emotions, we often take for granted how valuable and important the moments in between the drama are for us. Non Non Biyori, and its sequel series Repeat, highlight all of the meaningful moments that we often take for granted. It does numerous things to ... create its nostalgic tone, create a lived-in setting, and make its characters come to life, while being one of the most hilarious and occasionally heartfelt shows out there. Few series are capable of evoking the kinds of emotions NNB does for me, and through watching its young characters grow up in the countryside and experience the milestones of childhood, it makes me appreciate my life all the more.

While Non Non Biyori's artwork and character designs are bright and colorful, it doesn't take long to see that the series general tone is also infused with a tinge of melancholy, and that unique bittersweet tone is almost always there in the background. This is because every aspect of Non Non Biyori's design is made to evoke the Japanese aesthetic concept called Mono no Aware. Sounds weeby, I know, but I think this concept is vital to understanding why Non Non Biyori is so memorable and emotional. Mono no Aware is about the meaning found in things that are fleeting, about how things are beautiful because they don't last forever, and as sad as it is that things change, it was better to have experienced them at all and allow them to become memories. This aesthetic is a staple in Iyashikei anime, and many of these series are set in a location where its easy to convey this feeling. Anything involving the passage of time will do the trick, which is why most Iyashikei anime are either set in nature, or in a post-apocalyptic setting, and Non Non Biyori's setting allows the series to constantly be reminding us about the passage of time. Being set around a large, natural environment means that things such as the changing of seasons are always seen visually. As each episode passes, you will notice that more leaves are starting to fall off of trees, or the color palette changes as the sun shines in different ways. The characters activities usually relate to whatever season it is, and seeing how all of this changes over the course of the series evokes the bittersweet sensation of Mono no Aware.

Another big part of Non Non Biyori's tone is how run-down it is. Around all of the gorgeous nature, Non Non Biyori is set in a run-down farm town. Small, half-destroyed houses and shacks can be found in the background, and there is a sensation that there used to be far more people in this rural town then there currently are. The school the students use has broken floorboards, the signs have been written on and are cracked or off their hinges, and the place in general looks like its been eroded. Not only does this serve as excellent worldbuilding, filling this setting with odd details and making it feel lived-in, but it also helps to convey that it used to be very different, and that over time, it's changed. Though more obvious, a big thing that shows how this place has changed over time is the older characters. There aren't any high school students anymore, as they have all moved to Tokyo to go to school, only coming back to visit occasionally, all in episodes that further flesh out the history of the characters and reinforce the passage of time. Instead, it focuses on young children, or younger adults.

Most anime about cute girls doing cute things features high-school aged characters and light coming-of-age elements. Most of these characters face some hardships about their future, and their responsibilities in school. These stories can be engaging in their own right, and many times can form the crux of a very emotional coming-of-age story (see K-On), but that's not quite what Non Non Biyori is going for. Non Non Biyori ages its characters younger than most series, ranging from the First Grader Renge to the Eighth Grader Komari, with side characters who are all older with only a few exceptions. As young kids with much fewer responsibilities, their general personalities get more opportunities to come out, and they get to act their age: like children.

Each of the girls in this show feels like how a real child that age would act, and it makes them all more endearing and relatable. Hotaru is a 5th grader who moves to this rural village and adjusts to country life. At first, it seems she's mature and has it set, but as the series goes on we get to see her childish side come out more and more often. She idolizes the oldest girl Komari, she's gullible and falls for numerous tricks, she's curious about many things, and she gets clingy and overly whiny at times, especially around her mother. She acts differently around every character, and is in general a multi-faceted individual who feels like a believable child. The same is true for the tomboyish and troublesome Natsumi, and the wannabe adult Komari. The best example though, is Renge, who is the heart and soul of this series and a big part of what makes this series emotional core work so well. A bright and shiny first grader, Renge is overly curious and goes to explore everything she can find. She constantly asks questions, runs around on her own to find new things, takes advice from other characters way too seriously, and has an insanely random mind and will say the most insane things that almost make no sense. She's artistic, questioning, observant, and constantly taken aback by everything she experiences, looking at the world with a sense of wonder and fascination that only someone as young as her can see, as she is still learning about life and her surroundings.

The biggest appeal of this series is in watching each of these characters grow up, experiencing the milestones that come with going through childhood. Most of these are light-hearted and fun, with very simple life lessons and a look at those days we wish we could return to, but they are treated with care and emotion. For example, one episode is about Natsumi dragging her sister to run away from home after getting blamed for something she didn't do. The two go to a hideout they made and talk for a bit, before reminiscing about the last time they had run away like this. They eventually realize that they can't really do anything without their mom, and juxtaposed with a cat feeding her kittens, the two realize they were acting like idiots and return home. Expecting to get scolded by an angry mama, instead, the two get head-pats and treated to a warm, home-cooked meal by a mother who was worried sick about her kids. It's heartwarming, nostalgic, and something I think anyone can relate to. Each of the series various plots are like that, ranging from a young Renge making a friend and eventually having to see her leave, to everyone looking back at old toys and photos/videos and cringing at how dumb they used to be.

But perhaps the biggest reason for the success of this series nostalgic and bittersweet tone is in the side characters. Like I said, this is a series about watching these children grow up, and the children themselves can't really see how much they're growing. But the older characters sure can, and in seeing their relationships we get a look into how things have changed. This is most apparent in the relationship between Renge and Kaede, aka Candy Store. Having been made to raise Renge when she was only 2, the two have formed a special, inseparable bond, and many of the series most emotional moments come when Renge goes to Candy Store for certain things. As Renge's own parents are constantly working in the rice fields and her sister is always sleeping and lazy, she experiences many of her own childhood milestones with Candy Store, such as learning to ride a bike. Candy Store is watching the young Renge grow up right before her eyes, and there's a bitter-sweetness to this, knowing that while Renge won't have that sense of adorable childlike wonder anymore, she's moving to better things. Really, Renge is an encapsulation of the emotional core of this series, and I can go on about how fantastic of a character she is and how she embodies everything I love about this series (a certain episode about tadpole shrimps comes to mind). Just suffice it to say that watching her grow and learn about life was satisfying and beautiful.

I may make it sound kind of emotional, but really Non Non Biyori is light-hearted and funny. Actually, it's hilarious. Non Non Biyori has some of the best comedic timing I've seen, and basically every punchline hits and hits hard. What I love about its comedy is how restrained it can be. The series will often utilize long pauses before the characters react to something, and that reaction will usually be a bit more relaxed or deadpan than whats normal for cute girls. Beyond that, the characters are wonderfully expressive, with adorable facial expressions and specific body language that makes them a joy to hang out with beyond feeling like realistic, multi-faceted child characters. Much of the comedy also plays into the feeling of nostalgia the series emits. I remember getting way to serious about games involving school supplies as a kid, and making random games out of stupid things. It's both hilarious and nostalgic then, to see a game of "flip the ruler" morph into a super hype sports anime, or one of the older characters tease Renge by pretending she removed her thumb. Some of the comedy can be random, usually involving Renge's wondering thoughts, and there's even room for A MUTHAFUCKIN JOJO REFERENCE!!!! The series is silly and child-like, and it brings me back to that wonderful little time in my life.

Supporting all of this, is Non Non Biyori's absurdly gorgeous background art. From cracks and rust in buildings, to the various colors of the four seasons, to the various memorable locations throughout, Non Non Biyori's setting is filled with details that bring it to life, and its lighting, color design, and layouts are absolutely beautiful. While the actual animation can be a bit janky at times, and never really impresses, it didn't really have to for this series. For something so focused on tone and setting, the background art and color design is paramount, and this series succeeds on that front better than most. There's very little I can say to do it justice, watch the first scene of the first episode and that should do the trick. Adding equally to this immersion is the excellent OST. It's surprisingly varied, featuring an array of both beautiful, melancholic piano tracks, and child-like comedic tunes with lots of recorders, bells, and whistles. Both OP's and ED's are excellent. The OP's depict the girls playing around in the country, with a tunes by Nano.Ripe that sound comfy, "country," and fun, and the visuals keep the motif of the changing seasons, with the second OP even featuring a segment where the girls march with the music as the seasons change around them. The ED's are where the series music shines most in my eyes though. A fun, catchy song with a hint of melancholy sung by the series voice actors, set to a slide-show of them having fun together. A perfect fit, and I listen to both tracks whenever I need a dose of this show.

Non Non Biyori is the essence of experiencing life in its purest form, sometimes literally, as the camera has a tendency to linger in the same position for long periods of time and allow things to just play out, as if it were turned on and just left on the tri-pod with no one manning it (btw, this series has some excellent direction and cinematography to boot). It makes a point to highlight all of the beautiful things that can be found all around us every day, and tells us to treasure those things, and not take them for granted. While I'm not sure if this was the intention, my interpretation of the decision to repeat the same year in Non Non Biyori Repeat is to inform us of how much we can miss; that within a single year, there is a lot that we take for granted, and we shouldn't forget about any of the wonderful moments that made that time special. If you want a light-hearted, hilarious, Slice of Life about a group of girls experiencing the milestones of growing up, with an emotional undercurrent and a few moments that will tug at the heartstrings, you really can't do much better than Non Non Biyori. Life is a beautiful thing, and this little show wrings a lot of feelings out of reminding us of that. It's a simple message, but sometimes, that can be resonant, and here, it definitely is.

Right now, I am a college Sophomore, soon to be a Junior in just a few months. I've always felt like I'm living a good life, I dedicated myself to band for 4 years in high school, I hang out with my friends every weekend, and in general I thought I was fulfilled. Here, heading into my future, I still have no clue what I want to do with my life. With nothing resembling a concrete goal, no particular passion for anything other than games and anime, and having picked a major simply so that I can have classes for the next semester, I can't ... help but wonder: Did I actually waste my youth, and am I still doing it now? I don't have any goal, and haven't done anything to lead me towards one, so I'm paranoid. I did so many things that made me feel happy, and that kept me going, but did I actually do anything of worth, anything that will really stick with me, and shape me? Was I a waste of space? These are some of the thoughts have plagued me for the last few years, and ultimately, I still don't know what to do despite my desperation to make a move and just do "something" to move forward. This struggle is the idea that drives A Place Further than the Universe, and the main reason why it resonates so intensely.

A Place Further than the Universe, or YoriMoi, follows Tamaki Mari (Kimari), who is me, a person heading off to her future with no goals, no accomplishments, and who feels like someone who has wasted her youth. After meeting Shirase Kobuchizawa, someone who has incredible conviction about the seemingly crazy goal of going to Antarctica, Kimari gets a wake-up call and decides to follow Shirase, whose crazy ambition might be exactly what she needs to finally make her youth move. Along the way, the two meet the spunky yet mature Hinata Miyake, and the lonely idol Yuzuki Shiraishi, and head to Antarctica in an attempt to find themselves and move past the things that have been holding them back.

The very first thing we see in the show is an image of a young girl pouring water into a well made of sand. The water bursts through the wall, and the girl is fascinated by the wild gushing that comes with the water's newfound freedom outside the comfort of the well's walls. This metaphor consistently comes up in the series, and its the perfect description of one of the shows central ideas: moving out of your comfort zone. Kimari is afraid to leave her comfort zone, always right on the edge of doing something she wants to but backing out at the last second. This is the norm for people, a fear holding us back from doing what we really want. It makes us afraid to make a move, and makes us fear for others who dare to attempt what seems impossible, thus we convince them, and ourselves, that it's better to be safe than sorry. Weather its Shirase's classmates calling her insane for attempting this absurd trek and trying to dissuade her, or Kimari's friend Megu trying to scare her from the trip, feeling left behind as her friend moves on without her, much of this shows internal conflict revolves around this idea, and many of its most cathartic moments revolve around being rewarded for taking a big risk and proving your doubters wrong.

Those moments of catharsis are a part of the shows structure. Each episode starts with some comedy and character interactions, slowly introduces the dramatic idea of the episode, develops the characters as things unfold, and ends on an emotional moment with a fittingly emotional insert song. This could have easily led to this series being formulaic and disjointed, but YoriMoi employs excellent pacing and continuity to make everything feel organic despite that structure. Every event leads into the next logically, and it never lingers for too long or goes by too quickly to leave an impact. Throwaway lines in one episode become very important 5 or 6 episodes later, and in general there is a lot of excellent foreshadowing that helps everything lead organically into the next thing, helping to create a sense of forward motion and continuity; which is noteworthy considering the shows themes. This means that while I can predict the emotional beats of each episode, they aren't dulled because the execution allows me to get sucked into the conflicts of each episode, and the foreshadowing means that nothing is contrived or pulled out of thin air.

Another part of that organic pacing is in what each episode chooses to focus on. While technically, each episode is about just one or two characters, YoriMoi never puts anyone to the sideline, allowing each character to interact with every conflict and flesh out their dynamics. While each episode focuses on one person, each is really "about" everyone. Those conflicts need to carry weight, and with a cast of endearing, relatable, and human characters who are complex, multi-faceted, and break from any potential archetypes, its very easy for each conflict to leave an impact. I've already touched on Kimari, who's journey to discover herself and do something she can be proud of was intensely relatable to me. She goes beyond just a typical, weird genki girl. She is paranoid about having wasted her youth, a conflict that has been haunting her for a long time, as shown by how Megu seems to know exactly what she is going to say about this issue when she brings it up. Kimari hates herself for feeling like a waste of space; someone who won't amount to anything worthwhile because she's too much of a coward to try. She has her quirks; she's airheaded and brash, she's emotional and wears her heart on her sleeve, she's caring and exceedingly dedicated when she really puts her mind to something, etc. But ultimately, she's a person who is afraid that she has failed to grow up properly, and that she has no time left to do so, which terrifies her more than anything. I should also mention how much I love that we see Kimari's family interactions more than once, as it fleshes her out just a bit more, and as a group, the Tamaki family feels like a real family with their own strange quirks, but who ultimately love and support each other in their endeavors.

Each of the other characters is equally fleshed out and nuanced. Hinata is energetic and fun, but she is confident, smart, and mature, often acting as a mother figure for the other characters. All of this hides a past that has shaped her into becoming someone who doesn't want to be pitied, who doesn't like to rely on others, and who wants to run away from the stresses of life. She doesn't like to be mean but she also isn't sure if people can be genuine with her, and so she hides her stress and can lash out sometimes. She constantly supports others as much as possible with her surprising wisdom, but refuses to accept support herself when she really needs it for fear of being betrayed. Yuzuki is someone who I share numerous experiences with almost exactly. As an idol and actress, she hasn't been able to form any meaningful relationships with people, and those who try always do it for the bragging rights of being friends with a celebrity. This made her close herself off to people entering her life, and left her ignorant of the strange, intangible nuances of developing a friendship, and what it means to be friends. While I am not an idol, I have been similarly betrayed by my friends in the past, including a person who only hung out with me because he was able to steal things from me that he couldn't afford. And she isn't even a typical idol, as she actually dislikes all the girly-girl stuff and is surprisingly self-deprecating, often using her catchphrase of "I could just die right now" whenever she gets annoyed.

What I like about these girls is the smaller things. While the larger story beats are exceptionally well executed, they work because of how real their dynamics as friends feels. Many anime have their characters be nice to each other constantly, and while that can work for a CGDCT show, YoriMoi, despite its insane premise and cutesy character designs, is a grounded drama, and likewise it has grounded character dynamics. I've always said that while good friends are often nice to each other, best friends take every opportunity possible to dunk on each other while always being there for each other emotionally, and that's exactly what these characters do. Little moments like Kimari and Hinata mocking Yuzuki for her catchphrase, or each of them attempting to hold back laughter when Kimari gets sunburned and when they discover the secrets of her bangs, or the slow realization that someone said something really dumb late at night and calling them out on it once it sinks in, or responding to someone asking about what you're doing with "self-loathing." These are things that real teenagers do and say, and it does wonders in making them feel like living, fleshed-out people who are truly good friends. Director Atsuko Ishizuka said in an interview that she based the girls dynamic on her own friendships back in high school, and it really shows. Jukki Hanada also brings his impeccable talent for writing the realistic dialogue and charming character interactions that also made series like Sound Euphonium, Chuunibyou, K-On, and Love Live come to life, and his talent on this series matches and exceeds his best work.

Even with all of the roasts and dunks, these girls are always there for each other, and that's another thing we can take from the show. Friends are there to help and inspire each other, and many conflicts in the series are solved when characters realize how important they are to each other, and how they can help each other in their own ways. Be it Yuzuki coming on the journey to understand how friendship works, Shirase stepping up for Hinata and teaching her that its OK to rely on others and to rudely kick toxic people out of your life, or Shirase realizing what her priorities for the trip are and how this ultimately helps her, this show emphasizes the importance of close bonds, how we form them, and how intangible yet valuable they are to helping us grow as people. A fun twist in the final episode really drives all of this home in a clever way. But the series also covers how friends can be well-meaning but still ultimately hurt us even in their attempts to support us, such as with Megu trying to prevent Kimari from going on the trip (though she has a more selfish motivation for this as well), or Hinata's relationship with Shirase over the course of Hinata's arc. It's a much more nuanced and interesting take on friendship than I've seen in most anime. The nature of friendship is a strange thing, and this series digs deeper than most into the idea of friendship, just as much as the importance of friendship.

This brings me to Shirase Kobuchizawa and the rest of the Antarctic expedition team, who I have avoided talking about up to this point. She really deserves her own section for her important role in the story, and the impact that she has on the other characters, and on me. While most characters represent that comfort zone, and overcoming it, Shirase is their inspiration to do so; a person who doesn't care about what others think and inspires people to take action. She's crazy, and that's a good thing, but she's also empathetic and human, as her goal is driven by her need to find closure with her mother, who was supposedly lost on an Antarctic expedition three years earlier. Like the others, she is not really an archetype, as her mature confidence is counter-balanced by her unique thought-process and planning, eccentric shyness, and general apathy towards anyone she isn't close to. Her not caring about what others think often causes her to say whatever is on her mind even if it means being rude, but the show treats this as a good thing, as not being honest with yourself and others is often one cause of our stagnation, as shown in her role in Hinata's arc, among other places. Her relationship with Gin, the leader of the expedition and close friend of her mother, is one of the most compelling parts of the show. The two are very similar, and Shirase's hesitance to trust her because of how she sort-of blames her for the death of her mother rings true to life. Shirase coming to find that closure, and realizing what this trip means for her is emotionally draining, leading to the series most powerful moments. Overall, the characters feel fleshed out and human, with realistic complexity, relatable rapport, and endearing yet empathetic personalities.

I may make it sound heavy, but YoriMoi is also exceptionally funny at times. Much of this is due to the relatable character interactions and voice acting, but the series unique directorial flare also plays a role, and is definitely worth mentioning. One thing YoriMoi will often do is use signs in the background to accentuate comedic beats. For example, when Kimari finds the million yen that leads her to Shirase, her shock is timed with a sign behind her that reads "you could win 1 million yen," and in context its a fun detail that adds to the humor of the moment. There are lots of similar moments throughout that make it more fun. The series also carries a lot of unique variety in how it portrays character interactions, as well as some creative visual presentation, such as when Kimari and her sister are watching their mom closely to see if she's in a good mood, and the scene is directed like a really well-done horror film. Those are just a few moments that made me laugh out loud. It's true that this series made me tear up every episode, and cry more than once, but its also a fun time with some goofy teenagers as they find themselves and become friends.

On the technical side, YoriMoi is excellent. Atsuko Ishizuka is known for her luscious detail and overwhelming pastel colors, as seen in shows like No Game No Life and The Pet Girl of Sakurasou. YoriMoi keeps all of the detail, but makes the colors less bright to fit the grounded tone. There are tons of details everywhere, from Kimari's messy room, to the gorgeous landscapes of Antarctica itself. The character designs are fantastic, not unrealistic or idealized, but still very expressive and at times extremely cute. Their personalities are sold not just through the writing, but through how they move and where they choose to place themselves. For example, Yuzuki is often behind the other three and further away when walking around, at least until they get to Antarctica and she's gotten more comfortable with them. With detailed character acting, its easy to get a sense of what each character is feeling and thinking if you pay attention, and it rewards you with call-backs and foreshadowing. The soundtrack is a strong showing, not really standing out while watching but enhancing the show subtly. Having gone back and listened to the OST, each track brought me back to a specific moment or feeling in the show, and that to me is the mark of a good OST, much more so than weather the music is a good listen on its own. There are a few insert songs for the emotional climaxes of each episode sung by the characters respective voice actors, and they are the true stars of the music, making each emotional moment feel that much more powerful (the ED in particular is a perfect fit for the show and is what I feel best represents the emotions it conveys). Speaking of the voice acting, its some of the best I've heard, which isn't too surprising considering the top-tier talent put on the show, but even for a seiyuu as incredible as Kana Hanazawa, her work as Shirase is a standout, and the same goes for Inori Minase, Yuka Iguchi, and Saori Hayami, as well as the side characters.

Overall, A Place Further than the Universe is a masterpiece. It succeeds heavily in every category, and its failings are so minor that they are essentially non-issues. Its characters feel like real people who are complex, multi-faceted, and endearing, and who truly change over the course of this journey. Its conflicts are relevant, relatable, and executed organically despite the structure actively working against that, and the series most emotional moments have not just made me cry a waterfall, but in some cases outright broken me. If you want to laugh hard and cry even harder, this is the show for you. It's a thrilling adventure, a charming slice of life, and a powerful drama all rolled up into one incredible package, backed by technical achievements that are just a tad below the best of the best. Though I didn't talk about it here, the series cinematography, editing, and shot composition is absolutely top tier, and helps to make every moment carry weight. Most importantly though, this series resonates. Having watched this show, I feel like I have the confidence to try and find something to do, to not make me feel like I've been wasting my life, to cut off anyone who is toxic, to truly appreciate and love the people in my life, and to get away from my comfort zone, and with it, my stagnation. While I don't think this show is for everyone, as no show is for everyone, it seems that I am far from the only person with whom this work has resonated with deeply, and if any of what I talked about piques your curiosity, or even if it doesn't, take a trip out of your comfort zone and watch one of the best dramas, and shows in general, the medium has to offer.

WARNING: MOST WILL NOT AGREE WITH ME. IF YOU ARE GOING TO BE A BABY BECAUSE I DON'T SHARE YOUR OPINION, DON'T READ.

Life occasionally gives you things that you don't understand. Sometimes its people, or school work, and sometimes, its why something is popular. Jojo's Bizarre Adventure was recommended to me by so many people who regarded it as one of the best series ever. Upon watching it, I realized that to enjoy the show, you must turn your brain off and just take it in. As such, I did, yet I still ask the question: WHY THE HELL IS THIS SERIES SO POPULAR!!!????????? That's ... an exaggeration of course, as I do understand the appeal of a show like this, but it certainly does baffle me to know that this show has so many deeply devoted fans who consider it their favorite anime. In my honest opinion, Jojo is one of the worst series I have ever seen so far, and I promise this isn't a troll and I know that I am in a minority. Usually, I am a completionist who must finish every series I watch all the way through. I just couldn't do that with this one, and its the first series I ever dropped. Personally, I found every scenario really stupid, with dumb characters, and surprisingly good music. I'll do my best to explain why I hate this series so much and though I know most will disagree with me, at least try to understand where I am coming from.

Art/Animation- My god does this anime look like shit. I get what they were going for: a very stylized, comic book style art style. I don't have a problem with that, and I feel that it could have added to the story. However, it just looks so unpolished. I give points for the interesting style and occasionally decent animation, but the art makes this anime look like it's from the early 2000's. Hell, I saw footage of the 1993 adaptation of Jojo and at some parts, it barely looks better. I will also say that character designs are very uninspired and I found many of them to look remarkably similar, but with some different colors on them. Overall, the art was pretty bad on this one, and the solid animation doesn't make up for it.

Story- Art style doesn't prevent a story from being good. Like I said, I figured out to watch this show with my critical brain turned off, but here is what I noticed even without it. First, SO MANY PLOT CONVENIENCES!!! Occasionally they are fine, but I found most of the show's scenarios were that there was an item in the exact right place at the exact right time, or that a character was holding something that was never shown or alluded to. One of the worst examples was when fighting a monster weak to sunlight in part 2. Once the monster was lured outside, it just so happened to be exactly noon, and there was a well in the exact spot where the sun was shining brightest, which was used to reflect light to the monster on both sides. Even with no critical mind, I noticed that and it bothered me, and I can name plenty of other similar scenarios. Also, Part 1 was incredibly boring to me. The 7 year time skip from episode 1 to 2 was really stupid and we got no sense of what the characters involved went through. It was jarring. On top of that, scenarios that weren't plot conveniences, which were few and far between, were just too stupid to be entertaining, and too cringy to be funny. I know that they were trying to be "bizarre", but they took it way to far. It wasn't even stupid funny, just stupid. The premise was somewhat interesting with the idea of a multi-generational epic, and there were a few episodes that were actually kind of entertaining, but overall, the story was just really bad in my opinion.

Characters- I wish that the characters helped, but unfortunately, they don't. I'll name most of them. Jonothan Joestar was bland. The seven year time skip changed his personality totally and we got no idea of what happened during that time. He was supposed to be a gentleman, but he did some rather rude things to Dio (though he deserved them). He was supposed to be a weakling who can't win a fight, but he suddenly transformed to a monster who can win with a broken arm. All of that is just stupid, though he was entertaining sometimes. Dio was a decent villain, but only because he was so easy to hate. He had little motive, and was simply an asshole for no good reason. He also went from wanting money, to wanting to take over the world in literally one episode. I just found that jarring. Speedwagon was interesting, but my problem with him is that in less than an episode, he went from fighting Jojo, to becoming his best friend and biggest supporter. Thankfully, I was somewhat interested in his character. Zepelli was by far the most interesting character, but we didn't find out much about him at all. Joseph Joestar was mostly an annoying, arrogant brat whose presence on screen usually made me want to tear my eyes and ears out. Caesar was also annoying as fuck. Finally, Lisa Lisa was intriguing, but not enough for me to want to finish the show for her story. Overall, the characters were along a normal curve, with some being rather good, some being rather bad, and most being meh.

Sound- I will however, give credit where credit is due. The soundtrack for Jojo was actually really nice. It always fit the mood and added to the scenes (as much as it could). It was mostly epic fight songs, but that works for a series like this one. Also, there were some nice atmospheric songs that added to the mystery aspects of the show. Also of note, was the second OP, as it is absolutely fantastic and one of my personal favorites. The ED theme is also great, not only for it being a giant meme, but just for being a great revival of an awesome old song. Finally, I have to admit that sound effects were pretty nice. While none of it blew me away or anything, it was definitely very good. Jojo's sound is by far its best quality.

Enjoyment- As I said, I am usually a completionist, so when I drop a show, that means that I really don't like it. Needless to say, I did not get much enjoyment out of this show at all. Every episode was a drag to watch, and no matter how much I would pray for something to be entertaining, it rarely ever was, even with my brain turned off. It just wasn't interesting or fun enough for me to want to finish it to the end. I honestly can't force myself to watch the next 9 episodes because that would be torture for me. I did get some enjoyment out of certain parts, which is why I can't give a 1 there, but I really don't understand why people love this show so much.

Overall- I'm usually a pretty generous reviewer. The fact that I score anything below a five means its really bad to me. I just can't get myself to finish this show because I can find barely any redeeming factors. With brain on or off, I don't understand how this show could have such a huge following of deeply devoted followers. It honestly baffles me. I've probably pissed off a lot of people right now, so I won't say more because I like my life. All i'll say is that if you are reading this and haven't seen the show and are on the edge, and if you have seen my other reviews and have similar tastes, don't waste your time on this one.