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Aug 3, 2024
Translated into English by: ChatGPT. Sorry for any errors in the text.
This season left a strong sense of SATISFACTION. Few things manage to be 100% satisfying in everything they set out to do, but this one does it with mastery. It's the definition of delightful. In this season, Sawako and Kazehaya are already a couple, so the plot revolves around them understanding their feelings and how they should act now that they are a couple.
In addition, there are the dramas surrounding their friends, which, aside from being very good, serve as a great complement to the main couple. While Sawako’s friends' experiences help her better
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understand her own situation regarding her relationship, she also helps her friends find themselves amid their struggles. It’s a very beautiful friendship dynamic.
Unlike the previous season, which had ridiculous moments that felt more like filler than real development, this one does a great job developing not just the main couple but the characters as a whole. It adds more depth to each character’s feelings and develops them in a pleasant way, WITHOUT ANNOYING MISUNDERSTANDINGS THAT GO NOWHERE.
A perfect season, complete and thoroughly satisfying (it’s not the end of the story yet, as there are still things to develop, so I hope for another season). I only have a slight concern about Kazehaya’s somewhat possessive nature, which is a bit strange, but in the end, his actions are always right, so I guess it’s okay.
9.5
Reviewer’s Rating: 9
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Jun 17, 2024
Translated into English by: ChatGPT. Sorry for any errors in the text.
"I'm baffled by how the ending is governed precisely by the series' issues (the VR and the powers). Unthinkable that something so well-written would conclude in such irrational and inconclusive manner—a pathetic script to wrap up the manga. I'm saddened."
How foolish I find the idea of introducing yet another boy who was there from the beginning, whom no one remembered existed, adding a new drama, a new element to justify his anger towards Kenji. Seriously, after all that effort to build up the character of 'Friend'/Fukubei, the guy goes and creates ANOTHER forgotten character
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who 'has always been there.' Then this last-minute element becomes the final resolution of the story, something that wasn't developed earlier is what wraps up the work. Congratulations. At the beginning of the text, I praise the work for developing all its points and interconnecting them, but in the end, it's simply not true.
Reviewer’s Rating: 3
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Jun 17, 2024
Translated into English by: ChatGPT. Sorry for any errors in the text.
I'm talking a lot of crap, a lot of stupid stuff and idiocies below
Attention! This is my personal experience with the work, don't consider it as if I think this is a universal truth.
I'm not good at writing a text, so elements may be disjointed and lacking proper development or conclusion.
It's an interesting story, always referencing something from the '90s or earlier—music, manga, anime, among other things, since part of the story takes place during that time, it's cool to see that, even though I don't know half of it.
Urasawa knows how to write
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a story, the elements are introduced, developed, and concluded, everything as it should be. That's good, actually excellent; he connects events and creates a cohesive work. But there are so many elements in the work that it's difficult to keep up with or care about all the storylines presented. There's always a new character, a new drama, a new danger dragging on for several chapters because there are so many things to address, and so it goes. The work ends up feeling like it's padding to delay resolving its issues.
It's undeniable that Urasawa is skilled at writing a story, he has a lot of ability to manage the plot in a cohesive and interconnected way, but it's a very rigid story—I can almost see the gears of the plot working. It's a silly thing to comment on, but that's how I felt reading it. A rigid and bland read, it felt like I was reading a scientific article. And I didn't want to talk about the artwork; it's a very "wtf" thing to comment on, but man, the guy doesn't play around with the page elements at all—it's always the same. The dynamics of it aren't the best.
The story switches from the perspective of child characters to them as adults; something happening in the present always triggers a memory from their childhood to continue the current events. That's cool, but often it's conveniently used to reveal information the characters "didn't remember" until then. Like, if they had remembered that event earlier, countless problems would have been solved instantly. And it's not always a plot trigger that makes them remember; sometimes it's just a convenient moment when they recall something, and the story unfolds as the author desires.
Speaking of convenience, there are many plot conveniences for the story to progress. Sometimes it seems like Urasawa didn't know how to connect two events and resolved it with some solution pulled out of thin air. A good example is the prison escape; after hammering on about how escaping was impossible and that even if they got out of their cells they would die at sea, the story introduces a clandestine boat out of nowhere to save them. And speaking of convenience, there's Otto—smart, cunning, a battle expert, martial arts master, strong, committed, etc. He can do everything, face anyone, invade anywhere, escape from anyone—he's unbeatable. The guy is just too cool... And then there's the ultimate convenience: Kanna Endo. I hate this character; she's in the same league as Otto, but incredibly annoying. I don't necessarily think it's a terrible thing, I don't even find it bad (Kanna is), but these are very convenient elements to drag out the mystery longer.
And speaking of the mystery, I HATE how Urasawa handles it. The mystery is always like, "I'm going to reveal who he is, pay attention, there it goes, I'm going to say who... just kidding, haha." "Hey, the friend could be this guy here, look how suspicious he is, it must be him, see? Well... no, too bad, try again next time." I find this endlessly annoying; I can't get into it because I know it won't reveal anything. Every time it's about to reveal who the "Friend" is, something happens—no name is given, no face is shown—and it drags on like this for a long time. Come on, if you don't intend to reveal it, then don't bait us like you're going to.
Then there are the powers, something that SHOULD NOT exist in this work. There's the bowling old man (awesome guy, I like him) with clairvoyance powers, which aren't really useful; he just goes there, says some things no one understands, and that's it. It doesn't help or hinder, just something completely out of place. And there's Kanna's powers, which are...? She can predict things and... bend spoons? Well, these clairvoyance powers are used conveniently sometimes, but in minor problems that could have been handled better or might not have existed at all. These powers are ridiculous; the manga talks so much about science, how there's no supernatural stuff, and that the "Friend" was a fraud who had none of the abilities he claimed, yet some characters have illogical supernatural powers that don't connect to any story element.
And then there's the VR, I don't even know what to say about that thing. By far the most nonsensical, stupid, and convenient thing in the work.
BUT, there's the unmatched, the stupendous, the grand and majestic MAN, THE GUY, the one who is sensational and the only thing that kept me going: Kenji, the GOAT. What a cool character, what a likable character. Everything he does is awesome. From his childhood to adulthood, he's just F***ING awesome.
It's a shame he spends so much time offstage, with a lame excuse at that. To paraphrase my grandiose """"friend"""" ProxyLain: using amnesia as an excuse for something is terrible; it's the worst idea I've ever seen to justify a character's absence. Even though his return was AWESOME, really good and epic, that excuse didn't fly, especially since it was obvious all along that he hadn't died.
Even though I tried, I couldn't write much positive about my experience. Overall, I didn't care much about most things; Kenji was the only thing I can say I really liked.
Reviewer’s Rating: 6
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Feb 2, 2024
Translated into english by Aria (IA)
Wonderful
Nana is intense, its plot full of characters full of personality make everything work perfectly. It intertwines their stories with their personalities, their flaws and their qualities in a wonderful way.
Nana and Nana (Hachi), two completely opposite characters that complement each other in a very well written plot. Normally romances in animes always end up going wrong when they try to elaborate a drama in the work, it ends up being superficial, banal and forced, but Nana manages to do it with mastery. It manages to do something that I have seen fail several times, which is to make
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a love triangle that works. Despite this idea always causing me aversion, in Nana, due to its well-constructed characters and well-crafted text, this surprisingly turns out to be good. This theme could at any moment derail and get lost in its ideas, but the anime holds the stick until the end.
At first I didn't like Hachi, I thought she was a very annoying, shrill and overly immature character for the work, but this proved to be a characteristic of the character that goes far beyond this simple futility, after all, it ends up being this characteristic of the character's declaredly 'bad' personality that makes the main drama of the work turn.
Both Nana and Hachi are very well developed during the anime, all their problems, fears and insecurities are very well worked together with their life goals and ideals, a beautiful work.
And the production makes everything 10x better! The "Golden Age" of Madhouse.
Reviewer’s Rating: 10
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May 18, 2021
Translated into English by: google translator
I'm not a reviewer, so I don't know if it's good, but as I have a great affection for this manga, I thought I should write something about it.
It seems like yesterday that I found this manga on the recommendations of a random manga site out there and I became interested in the synopsis "the unreachable goddess who doesn’t know how to communicate and tries to do it using a notebook", I actually identified myself and I think that that's why it made me interested in reading this manga.
The story is very simple and its unfolding too, but the main
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focus is comedy and small, but big, communication problems of Komi, so junk much the delay in the development of the main story or the novel does not make much sense to me .
What makes this manga most enjoyable is undoubtedly the protagonist Komi-san, accompanying her trying to overcome all the small obstacles of a simple action that is talking to someone is quite interesting. Be it trying to communicate with someone or just doing something from day to day, it always generates great comedy scenes or just cute and affable scenes that will always leave a silly smile on the reader's face.
During the course of the work innumerable characters are introduced and all are extremely charismatic with very characteristic personalities, and this is one of the main factors that hold the attention of those who read this manga. It is clear that the author treats all the characters in the work with great affection, as he always tries to take advantage of them, even though there are many characters, their appearance is commonplace.
The "Enjoyment" factor is extremely big in this manga, because the story is based a lot on comedy and on many things school comedy clichés, so the comedy, the characters and their magnificent interactions that make them like that. The plot is rather slow, but the short and extremely affable, funny and dynamic chapters make you read several and several chapters quickly and without tiring. Whoever identifies himself more with the protagonist will surely become too attached to this story.
Komi-san wa, Comyushou desu. is an extremely cozy manga that wins everyone's heart. I recommend it to everyone who likes this style of narrative.
Reviewer’s Rating: 10
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