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It's hard to talk about Uzumaki without making sincere comparisons to Junji Ito's original manga. Announced in 2019 and only released in 2024, with years of delay, COVID, staff changes, and other internal problems, Uzumaki is the perfect example of what not to do with such a renowned and popular story.

Among the numerous mangas we recognize as difficult to adapt to audiovisual media, Uzumaki is certainly cited by fans of Japanese horror. It's evident. There are three volumes of a story that is episodic and continuous at the same time, playing with the reader about its intentions and with a lyrical ending. The thing is, ... it's not just because of its conceptual structure that Uzumaki is so difficult to adapt.

Its creator, Junji Ito, is an excellent artist. Although I don't like his stories and don't consider Uzumaki a good manga, I have to say that his style is enchanting. It's a paradox, really; I can't even explain why myself. Ito leveraged his fame in the West, mainly through the 16-volume "Junji Ito Collection," but what we see in these four episodes is little compared to the legacy Ito means to horror fans.

The main problem, obviously, is the production and continuity. I never trusted that four episodes would be enough to adapt 20 chapters, but I reconsidered as soon as I saw the first episode. As a rather picky critic of everything that comes with the "Junji Ito seal," the attempt to compile the chapters into a kind of distinct cause and effect from what happens in the manga is daring but works for an introduction.

It's evident that this was not a unanimous choice; many Uzumaki fans claim that the best way to adapt the manga is around 6-8 episodes, and I agree. From the second episode, the problems with this decision start to become bigger, and the animation becomes another issue. The fluid animation with rotoscope inspirations gave way to practically static images with no quality. This was justified by someone responsible for the anime, who said they had no choice. Either Uzumaki would be a project delivered without any polish, or it would be an even greater financial loss with a demoralizing cancellation.

Today, we know what was chosen, but it's still a disappointment. The second half of the anime is less chaotic, and I must say that it elevated my perception of what Junji Ito means to otaku culture. Certainly, it is not a project that represents his legacy, much less do I think it needs to be remembered as a successful adaptation, but it was good to follow the episode releases with fans making videos and analyses over time. Honestly, we haven't had anything promising to this day. Gyo is limited by the short execution time, and I don't need to mention what Junji Ito Collection and Junji Ito Maniac mean. They are all inferior animes that don't represent their main honoree.

However, I must recognize something. Although my disappointment intensified in the first half of the anime, the final episodes were more competent. They are equally limited, I admit, but at least they delivered a sense that it would be better if the entire anime were like this. There were still polish issues, and the script was certainly desperately betting on an apathetic conclusion, but I understand that this is a problem not only in the anime. The manga is like that too. The main theme is to bring increasingly grandiose events, assuming the impossibility of improvement in the society portrayed in his works. Whether it's a world where sharks come out of the sea to kill humans, spirals that represent a kind of social purification, or even the great Tomie, a crucial character for Japanese horror, what I see is that the anime's carelessness goes beyond just a bad adaptation.

Many who read this review may think I hate the author, but in reality, I value him in the way I can and always like to remember his stories. It's a paradoxical enjoyment, where I can extract artistic quality in his beautiful images, but unfortunately, there isn't the same care in the narratives. It's also important to say that not everything popular is automatically good, and that the culture of my country is used to a different kind of horror from the Japanese. It's a cultural shock that many like, and I also quite enjoy other authors like Hideshi Hino, for example. But it's necessary to realize that not everything will please us, and Uzumaki, both the anime and the manga, best represent this feeling for me.

Finally, I want to offer my condolences to the big fans of Ito. The delay of a project like this is unacceptable and hurts these people a lot. This only delayed a new incompetent production with little approval. Perhaps the Spiral of Horror is exactly that. A dirty game of poorly made projects that always repeats, repeats, and repeats...

- This Review contains spoilers -

Talking about Sotsu is really hard...

Going back in time, in 2020 we had the first part of the New Project of the franchise, which at the same time connected events of the original story, serving as a sequel for the anime, promoted a new experience, different from what was already presented.

It was confirmed that from the beginning Gou was a contradictory season for the show, as it involved a conflict within the very functionality and purpose of what was Higurashi until the end of the canonical arcs adapted from the Visual Novels. What marked the franchise for almost 20 years ... was set aside in favor of building a new story. An ambitious move, no? It is hard to think that a story already finished had anything more to tell, but honestly the feeling that Sotsu caused in the end was sadness.

The first three arcs (Oniakashi, Wataakashi and Tatariakashi), Sotsu oscillated quite a bit. The project really delivered a good start, where the conclusion of the arc in which Rena starred brought great anticipation for what would come next. Wataakashi was different... It was not the same feeling. The perception I had was that the staff had invested their time to start the show, but did not take good care in concluding this whole new phase. During this arc, it was interesting to see Mion being the real culprit in this little mystery. Of course, we can't forget that in the end the real culprit was always Satoko. When the show gives its plot twist still in Gou, it was expected that Satoko would be put on a pedestal as a villain. Well, that happened. If that's what the anime wanted, it got it. This idea whereby the show sustained itself injected added scenes with the perspective of Satoko having these "two faces". However, from here, it has a problem. Possibly the problem that destroyed much of the potential that New Project had.

From the third arc on (Tatariakashi), I could already see that the show was going to decline. I remember talking to some people about the status of the show during the release of the episodes and I knew that this projection of 15 episodes done the way it was would not be enough. Lack of time? Honestly, no. With 15 episodes it is possible to build a story that would conclude Higurashi, for sure. What prevented that was the time used during each of the parts that solved the mysteries separately. The show did this at the time with the second season. It was a formatting that worked and concluded the series in a positive way. Passione has consistently tried to repeat this, but has not succeeded. Tatariakashi was already a stage where you had both Satoko at her peak of madness, and moments where you didn't know what she really wanted.

Moving on, the franchise took steps backwards when it came to identifying the characters. The final conflict caused a sincerely silly fight between St. Lucia and Hinamizawa. Again, the selfishness that possessed Satoko exceeded her understanding with what she herself wanted. Episodes 10 and 11 demonstrate this, where there is a struggle unconsciously within her mind. A person who is already consumed by hatred against someone who still wants to have her life in peace. I didn't understand what actually occurred with this scene. It was just intriguing and would be a great way to cause Satoko's own redemption about what she did. But as the following episodes went on, that moment really didn't do much good. And even if Tatariakashi's conclusion had been good, the execution of the arc didn't please.

Remember what motivated her to do all this? Not wanting to lose her friendship with Rika was a huge desperation inside the character's heart. And now, she tries to fix it, even if she has to go through several loops and deaths to find the "ideal universe". Selfish, isn't it? This possession awakened a parallel personality that would cause more focus on the supernatural part of the series. Eua and Hanyuu were already characters that had this objective of serving as support to make the show's conclusions easier to reach. It turns out that with Hanyuu, in the original story, the explanations and dramas inserted were answered in a way that caused the interest of those watching. Yes, it's still a pretty boring way to think about it, but it was a lazy idea. Ryukishi could have brought this story turn around with a little more aptitude.

With Eua, same thing... It's really hard to define how far Ryukishi got involved in this original story, but the existence of Eua in the Higurashi universe sparked a problem that would be responsible for the very downfall of the show in the future. This was something that I predicted even in Gou. When there is the addition of an important character to the series, there needs to be a plausible way to contextualize the audience about what is happening.

"Who is Eua?", "Why did she help Satoko, being that it would apparently be of no benefit to her?", "What is the purpose of her existing in the franchise?"; honestly, I'm wondering that even now. Of course, it has the famous connections between Umineko and Higurashi, but I prefer to keep my feet on the ground about that. One cannot ignorantly state that assumption that connects the two worlds. Anyone who likes and understands the When They Cry franchise knows that this is a way to bring a more solid connection to culminate in this great universe, but while it's a good idea, it has displaced the goal of this show.

Speaking of purpose, what was "Kagurashi"? Four episodes made to conclude the series were not enough. Hanyuu reappearing in the astral world to Eua, Rika discovering that it was Satoko who was to blame for everything, and even the existence of the artifact that has the ability to kill those who live in loops... These issues are good at first glance, but insufficient to bring a conclusion. Since Gou I felt that what limited Hanyuu was already irrationalized. It already happened that she said "this time is our last chance" to Rika. That happened in Matsuribayashi (Kai), for example. The show tried to circumvent that and made Hanyuu have an ability and powers without much realistic explanation. It was not enjoyable, it was not captivating, it was not fun to witness after so many episodes the current fragments happen just "because they did".
Episode 14? Well, I don't think the problem with the show was that episode. In fact, it was more intense and was a nice way to bring a conclusion that needed to happen a long time ago. The build up to that stage was creative and I really appreciate the way the show tries to insert the abysmal powers. It was the famous "Dragon Ball" of Higurashi. A compilation of moments that disappointed most, as it was definitely no longer the "Higurashi" that everyone knew. Satoko and Rika awakening a power in a divine way was not really a good choice.

About the production, it was a factor that hurt the entire show. The amount of scenes brought entirely from Gou became more and more apparent as time went on and made Sotsu a definitive recap, rather than a conclusion. Passione experienced problems in writing a narrative that yielded well for the audience, but did not bring something new. Even with more than a cour of episodes left, it's still a sense of expectation to have something that was actually enjoyable to watch. Gou's phase was so interesting. The moments gave a utopian and cathartic awakening for it to have a good execution in the second half of the story. But I feel betrayed. In fact, I feel anguished. Anguished that I have absorbed a franchise that is so important to me and that even though I defended the show's more negative phases, I couldn't really like New Project the way I wanted to. The "miracle" that Hanyuu cites so much in the story is not for Rika, but for the project itself. Concluding the story in a good way was like a miracle, and it didn't happen this time.

Finally, Higurashi is still a franchise that I love, regardless of their criticisms. But Gou/Sotsu was indigestion. It's like you eat a whole cake. You'll be drawn to the temptation and think it's a good idea, but it won't be good for your stomach. As much as Sotsu didn't appeal to me, I can see some quality in it. I don't view this sequel as totally wasted, but I can't give it any more enthusiasm and say that it was a good experience.

The second season of 100-man was... weird. Remember what the first season of the anime was all about? The interesting proposition, where the RPG dynamic was applied in a convenient and often stupid way. Now, the show has changed that a bit, bringing a more arc-oriented perspective instead of this boring focus. But as much as a show like 100-man has improved, it's still a complicated experience to say the least, and that's for two reasons: ambitious story and split cour.

"Split cour" is a term used for shows that take a break between one cour and another. In the beginning, the goal was to maintain ... the relevance of the anime brand and the project, to complete the work, ensuring a good return for the studio and creators of the original material. Now, the purpose of the split cour is usually sustained to give the studios more time to make the continuation of the project as good as possible. It's normal for this to happen in the industry, and many shows manage to make up for problems and even improve their own story, which as the chapters go on present a higher quality and sense to make the show interesting. 100-man did this. The gap between one season and the next was even longer than usual (6 months), but honestly it wasn't that enjoyable an improvement.

This second season is divided into two arcs, where the first is the climax of the whole show so far. On a Volcanic Island there is a conflict between Orcs and Humans, where Yotsuya and his group face, together with a group of mercenaries, this mission. Torii Keita, the new member, entered the team of heroes as someone nice and more charming than the rest of the characters. Well, this is no merit, if you think that anyone could be more eye-catching than all the girls in the group. By the way, Keita was a boy who had a fight with Yotsuya in real life, before the first season ended. This insertion of the character for the involvement of the two was a good attempt to relate the characters and also to recover what had happened in the past. Speaking of the past, Kahabell was a character reused in the show to enhance the love she had with the protagonist, even though she had spent more than ten years in the fantasy universe.

The arc, even though it wasn't that interesting, was nice to follow. It really had captivating episodes in the middle of a normal RPG story. It was a credit to the effort given by the Maho Film studio for the show. Yotsuya had another internal evolution phase, characters like Kusue and Tokitake improved in performance and the mission was completed. It also had Yotsuya bearing a burden: the weight of having to do cruelty to complete her goals. It's a brave determination and one that deserves attention, as it's a factor that will surely make the show have a conclusion focused on this. It's nothing like "power of friendship." It's more like "if being a monster in this world will make my friends okay, I'll do it without hesitation". On top of all that, the existence of a man controlling a dragon was

The second Arc is more debatable and, for me, has some inconsistencies that hurt the overall story. This time, a Village living has a legend where a land exists that is able to bring eternal peace to its inhabitants, the "New Eden". Meanwhile, the leader of the region uses the very people who live in this village for exploration missions, where instead of really being an attempt to find this sacred land, it is actually a goal to disseminate and even eliminate the population of the village, which is experiencing problems and lack of food and other resources.
Yotsuya then, along with his group and a girl named Jezby (who by the way becomes the antagonist of this mission) and Glenda (the new member, who is a foreigner), leave for this mission destined by the Game Master. Actually, this story is not really incoherent, however the way the objectives were set was not pleasant.

Even though the show tries to leave the Village leader in the position of being guilty for killing many people, he ends the show as a "good man", or at least as being a better person than his attitudes are. Jezby the entire anime gave no signs that he was someone bad, but in the plot twist a revelation happens that even though it is shocking, it doesn't cause the necessary effect to be something important. Glenda (or "Glen" as people usually talk) finding out the truth of this Arc failed to bring a good convenience to the show. And even if it makes logic that the granddaughter of the Village leader and her adoptive father have been infected, this narrative turn was rather anticlimactic and mechanical. It didn't give a favorable and interesting setting, much less manage to encompass and conclude the situation in a beneficial way.

Another thing that didn't please so much either was Fatina. She is still a mysterious character and seems to have ties to the future of the show, about the dragon apparently being the last mission of the story. These were parts that put together another compilation of unnecessary and boring episodes and really didn't hold any interest with me, even if the conclusion of the show was satisfying.

Ultimately 100-man ends this 24-episode set below RPG animes in general, but it did get a small improvement compared to the first season. There were some shameful parts (like the girls doing an "idol" moment early in the anime), but they also had some enjoyable scenes, especially when it came to Yotsuya. Who knew that at some point he could be a cool character to follow. It was an okay season, after all.

Late 2019, at Comiket #97: "Wow, another isekai anime announced. But... A pharmacist? Is that reliable?" - That was the question I asked when I found out about the show. The only thing I had of information was the synopsis, the magazine the manga was published by (Web Comic Gamma Plus) and that the source material was a Light Novel. It is a path that many works take and with Cheat Kusushi it was no different. The biggest fear of the adaptation is that the magazine itself is new to the manga market and this anime was the first from this new publisher. Now with ... the show already closed, I would like to say that they did a satisfying first job.

Well, when they announced an adaptation of Cheat Kusushi no Slow Life, I was anxious about what would be presented. A show bringing an intriguing idea, where the isekai this time is... in a pharmacy. In fact, Reiji without much reason is inserted into this world, where he becomes a pharmacist (often mistaken for an alchemist). He, Noera and Mina live together in this universe, without much pretension or contextualization about how they met, but what was important for the anime was not this, but the casual, relaxing and... some boring. In fact, Cheat Kusushi is a show that oscillates in its ideas, as what used to be a scenario of discovering new medicines turns into a heap of things that are easily mistaken for alchemy.

Not that I'm complaining about this proposition, but when the anime idealizes Reiji as just a simple medicine maker to a creator of things capable of making a journal create a visual hologram of one of the characters' mother, the verisimilitude built during the show is limited and at the same time significantly undermines the expected experience. It's a trivial theme within the show, but one that doesn't sit well with the series, no matter what argument is used to defend it.

But the anime shouldn't be criticized for that alone. In fact, what really made the anime silly was the studio itself. EMT Squared is not very well known, except for having made a few anime such as Kuma Kuma Bear and Assassins Pride. The former was a recent project that didn't get that popular. To this day it is not a show that has interested many people. Assassins Pride was a waste of time, because besides being a generic story and very bad in the basic aspects, it got the status of one of the worst animes of 2019 (and rightly so). So a weak adaptation that would not improve its reading materials was already expected. That's what happened. As much as the anime has the charisma and comics with Reiji, Mina, Noera and all the rest of the group, the show evidently fails to be more than sudden moments. It's a synergy that doesn't bring anything new and even if it manages to spark interest during its story, it's not something that manages to convince.

The production is tokenistic. It doesn't have that many serious problems, except for the totally IRRITANT AND ACCELERATED beginning, which I'm sure made many people give up on the anime right at the beginning. The story? Well, if you want to focus on the clash between the culture of a human being living in this new universe, that's not what Cheat Kusushi really does. As much as I don't want to give that example, it is necessary for comparison. Mushoku Tensei is one of the anime in which the focus of the isekai is not to feed into the idea that Rudy has trouble living in the fantasy that is the new world. Mushoku's purpose relies on what Rudy learns in the world. Reiji, in Cheat Kusushi, as much as he also does this, does not actually learn something new. His insertion into the anime is already cemented and the only times he's really had that reminder that he's in a different world are in the last two episodes, which really isn't a good way to do it.

Things like what led to Reiji and Noera meeting and Mina being a ghost who only became better acquainted with Reiji after a while are not explored. They are overlooked and the anime didn't really care about that. It would be more appealing to experience a relationship that is developed over time, unlike the very mechanized episodes where even the order of the episodes doesn't really matter. Seriously, the only changes the show has made is to add about four characters, some problems between them, and more and more things that don't add to the show. It is a factor that varies from person to person. Some admire this unconventional pace, others just find it okay and acceptable, just like me. It's not bad, but it wasn't good.

Finally, Cheat Kusushi was a quick show, but it drained my energy as it was tiring to watch. What is positively marked is the fact that it is a show that managed to adapt a story coming from the Gamma Plus Web Comic, even though the Light Novel is published on other sharing networks. All in all, it was only a symbolic experience. No big deal. There was nothing that made it a remarkable anime, but it didn't cause any compromising feelings either. Maybe I'm asking too much of a show like this.... Now it's just hoping that if it has a sequel, the cool stuff will hold up, if not the joke with the word "Cheat" for "S**t" would make sense.

*This review contains any spoilers*

This text will be an analogy. Actually, a generalization.
What is your favorite food? This can be a difficult question. In fact, it is a varied subject and depends on many external and internal factors, personal tastes, experiences and expectations. Anyway, imagine that you have the opportunity to eat the same thing every day.

Well, this is somewhat of a dream. Who wouldn't want to spend a moment of their life overindulging in what they like most? I myself feel that it is something unique and that this utopia would be nice eventually. However, think how nauseating it can be to live ... with the same thing over and over again. It is uncomfortable, isn't it? Now think that this analogy resembles Seirei Gensouki, a show that started out delivering interesting ideas and was managing to be a good (almost utopian) experience, but that lost its rhythm, got out of hand, and is now another one of the animes that today is just... cloying.

To begin with, Seirei Gensouki starts out like many other shows of the genre and of light novel adaptations of isekai: a boy who, with a noble and honorable occurrence, changes his life and becomes a special person in a Kingdom of his Universe. Saving the princess was something unexpected for the character who still had memories of his past life, but this first stage follows with a chance at the Royal Academy, becoming a respectable person, even with the interpersonal problems and scorns by other classmates.

Oh, I forgot to mention that in his other life, Rio ("Haruto" in the real world) died as a result of a bus accident, with two other girls. One of these girls was apparently the same person with whom Rio was friends in the past. Well, fate prevented this reunion from happening amicably. Generic, no? However, even with these simple and expected archetypes, the show was not exposed in a negative way at first. In fact, it really felt like a utopia this introduction. The anime inserted a teacher named Celia as Rio's tutor while he learned for 5 years, from reading and writing, to the art of fighting and social etiquette. The universe of the show is a medieval fantasy, but it possessed its beauty, even if this very beauty was more evident than the story of the show itself. All expectations were projected to build 12 episodes that would guarantee a good experience, right? Wrong!!!

What if Rio has some trouble along the way and ends up escaping from Bertram's Kingdom? Well, that's what happens. The monotony and coexistence nurtured for five years within the story collapses at an unexpected moment. Flora, the same princess saved by Rio in the past, is saved in a near disaster during a test, by Rio. The problem is... Rio starts to be accused by evil people of being the very culprit of this incident. Rio then decides to flee the kingdom and begins his adventure, far from his classmates and especially far from his teacher Celia, his best friend during all his life. This kind of thing was quite unexpected frankly. For those who remember, Rio had already been through moments like this and it would not be very difficult to reverse the situation and graduate from the school. Even so, he did not wait and continued to follow his own path.

The protagonist really was unfortunate to make this illogical choice, yet Rio was never a meddlesome character or one who conveyed scenes where he turned into a "two-face." His courtesy and formality is a unique trait and one that captivated me throughout the show. Celia also had her charisma and striking presence that enveloped the story, even though she was far removed from the events surrounding the anime.

Time passes and Rio is attacked by Latifa, a slave girl ordered to kill him, but who is saved by himself from this cruel fate. Latifa is a demi-human, yet another common element in isekais today. Over time, their trust and trustworthiness becomes a relationship between two brothers and they spend time together, until they find a region where other demi-humans live in harmony. This is an interesting moment, as it is in this place where Rio is able to discover more about his amazing powers.

Rio then goes on to live a life where living still was impossible, after all, the character had one objective: to visit the place where his mother was born and who had promised to take him, if she were alive. There, in this village, more friendships and relationships made Rio known as a humble young man who always liked to help people.
His strength and affinity with various types of fighting is a unique ability that had a fair highlight at the time it was introduced, and the existence of a Spirit that made a pact with Rio is the cause of this being a story recounted in the future. And this is where I begin to question the show.

So far, Rio thought little of remembering what he experienced in the real world, much less wanted to know what occurred so that it was his main goal. As much as he wanted to, his honesty was enough to convince him that it was something beyond his own control. Then the unexpected occurs. During his return to the Kingdom of Bertram, Rio is contextualized about an unexpected political marriage. And this involves his teacher and dear friend, Celia, and one of the knights who mistreated Rio for a long time in the past, when he was still a suspect in the kidnapping of Flora, the princess. As much as the anime tried to make the story more intriguing, it was rushed, forced, and purposefully moved to end open-ended without much explanation.

I don't know what really went on in the heads of the staff at TMS studio (the same as Dr. Stone, Furuba, Takagi-san, and other always interesting titles), but the story's inability to possess a longer pacing time hampered the realization of this outcome. Even though the ending was a moment of glory for Rio managing to help Celia and not getting married and fleeing the Kingdom, yet another new context is invested in order to progress the story, but it was a deplorable execution.

Remember the bus accident and the two girls who were with Rio on this fateful day? Well, Latifa was one of them and the other was still far away from Rio. However, a great amount of power appears without much explanation and Rio, advised by his Spirit (who is now called Aishia), helps a group of humans who have also been summoned into this fantasy world. The problem is that one of the girls is possibly Rio's best friend and... the show ends.
Yes, the show ends. Nothing happens to explain the last 5 minutes, there is nothing to explain the blue-haired man's goals about the Kingdom, there is no conclusion. The show ended in a pathetic, immature way and was pretty much left aside, as if we, the viewers, had to continue the story for ourselves.

Look, I know that the Light Novel has more plot and that the anime has its reasons, but this kind of thing really is a disappointment. It's not bad to put the anime at a point where it can move on without losing momentum, but when Seirei Gensouki is planned to end this way without a precise sequel announcement, we have problems. It is clear that the project wants to continue, but this moment has drastically shaken the future of the show, as the reception towards this has not been good. In fact, for an anime that started out average and was doing well, continuing to improve would be a must, which in fact did not happen.

I don't really blame the studio entirely for this, much less the author of the original material, but it is a really uncomfortable feeling to wonder what could have been done instead. Some filler episodes, some side story, but that would help and not give the feeling of wasted time, but in the end it will be a utopia again.

Seirei Gensouki was a decent production and one that I recognize the value it had during its time here this season, but unfortunately it is another one of the animes that you can compare to a favorite food. You love it, you love it, you always want to be enjoying it even though you know it can be bad for your health and cause nausea, but you still have hope that it will be profitable, just like isekais, just like Seirei Gensouki. Whether we will ever have a show that can again have such a chance I don't know, but until then you have to accept the deep sadness that is a show being wasted by the end of time.

Polygamy is a difficult subject. Animes prove this. Harem shows try to treat their romances with increasingly repetitive approaches and at the same time don't know what to do often when it comes to finishing a show. Authors and storyboard creators have the difficult task of concluding the story and convincing the audience at the same time. Kanojo mo Kanojo arrived bringing a very different form of love that exceeds a couple, putting on a relationship that, while seeming innovative and different, demonstrates how lostand desperate romance animes are these days.

For those who don't know, "polygamy" is an emotional relationship in a group with ... more than 2 people. This kind of thing is still a controversial debate, because it not only involves the group of people involved, but also the entire external society that expresses this relationship in a negative way most of the times. Usually, acceptance comes with difficulty, which is fair enough. In the show, after receiving a girl's confession, Naoya proposes to Nagisa a relationship between 3 people. Naoya had from the beginning of the story a fling with Sakisaki, while Nagisa would be his second girlfriend. Sakisaki, like every person who has a normal functioning head, refuses at first sight the awkward and uncomfortable situation. Hearing this proposal from her own boyfriend is like receiving a betrayal, even if it doesn't seem like it. Having to share a closed relationship with another person in this way is something that really needs patience and understanding. Even with this, Sakisaki accepts living with Naoya and Nagisa in this way.
So far, the show looks cool, it's an idea that if it's put to good use, can cause interesting moments and messages, even with this distortion within what is meant by a harmonious relationship. The problem of Kanojo mo Kanojo is actually not this, but the progression of the show added to the difficult to follow coexistences during the episodes. At first, the anime tries to turn this perception into a difficult state until it is something the audience accepts as normal. But the show chose not to do that competently.

In fact, much of what the show has done is leave in hyperbolic drama moments that are just absurd and wouldn't cause that much amazement (remember, this is a show that wants to try to make a relationship between three people natural). You don't need to see much of the anime to identify this. From a hug request to the involvement of a fourth person in the story (in this case, Mirika), the direction of the anime puts the most frivolous and the most absurd moments into pure bliss, as if they were something similar. The way the show approaches this causes outrage with those watching. Imagine you see Naoya hugging Nagisa in front of Sakisaki while she feels a euphoria because she thinks she is developing a fetish, or imagine being surprised by a girl dressed as a rabbit or a maid in front of you. These things are really seen as odd, but they have turned this kind of attempt to relate the characters in a way that hurts the show itself. Honestly, putting a background with green and purple colors to cause a character's astonishment is not amusing, but pathetic. More than pathetic, it is a laziness of the show to innovate. What was supposed to cause humor by what you are seeing, causes laughter by the absurd way the studio decided to do some scenes.

And on the subject of innovation, Kanojo mo Kanojo is actually not a revolutionary anime, but an increasingly common cliché in manga, light novels and harem shows. One can see the increasingly bad trend of stories being poorly reworked and often concluded with contempt from the creator of the project himself. Without quoting spoilers of the endings of these manga, but "Gotoubun no Hanayome", "Domestic na Kanojo" and "Bokuben" were recent examples of adaptations that even having a conclusion did not please and in most cases caused a bad reception about the genre. When making a show of this kind, I imagine that the author needs to have the ability to conclude his work in a way that sparks interest in consuming other projects by him or the magazine he distributes, but unfortunately this does not happen. Kanojo mo Kanojo is not guilty of this trend, perhaps it was even the original idea of the show to be like this. But that doesn't take away from the responsibility to change the parameters of this demographic that is declining year after year.

It's not like the whole show is flawed, particularly some episodes and scenes are cool to follow, but they can't sustain everything else. These isolated cases are like gold found in a desert. You will feel accomplished, but all you will notice around you is misery. The misery of this show is the limitations of a better contact with the viewer. For many times I realized that the anime, instead of trying to be more casual or even slice of life, it uncontrollably tries to use already repeated, banal and unnecessary subjects to extend and perhaps create more time with this awkward involvement. Whenever it has some drama regarding a character's insecurity, their breasts are one of the first factors to be told, or the girl being pretty, or even the relationship of it being a story where more than 2 people have a love involvement.

Finally, Kanojo mo Kanojo is a disappointment, but a planned disappointment. You wouldn't expect anything good in a show that once again has "Kanojo" in its title (need I mention that this is getting more and more worrisome?), but at least I thought the humor and charm of the anime would be enough to withstand 12 episodes. Well, that's not what occurred. It's a show that has damaged itself and gone from "innovative" to just "weird".

This is another one of those animes that tries to apply nosense to get the audience to like it, but fails in its own factor of existence. Of the same nature and essence as Popee The Performer, Itazuraguma no Gloomy was a show that caused instant strangeness, bothered me for being a sick show, and ended the same way it ended: without causing any kind of sympathy with us.

It's not as if we demand anything from Gloomy, but surely the show could cause some positive engagement. That is not the case here. It's just a show that inserts a bear that Assaults a person ... constantly. It is the pure trash of animes, there is nothing profitable. An anime that few have seen and will surely be remembered little.

And I celebrate. I'm glad things like Gloomy no longer cause interest, as it is the most terrible representation of what Japanese shows can offer.

***THIS REVIEW CONTAINS SPOILERS***

Odokawa. Keep that name, because he is a great protagonist in Odd Taxi. No... Not protagonist... The essence, richness, and great acting of this show, which combines cool scenes, subdued yet gripping drama, and an exquisite realization of its mysteries.

Odd Taxi is restless and at the same time it is maddening. Odokawa is the character who indirectly commands all the actions. In this world, everyone is personified with animal-like representations, which brings the show closer to social issues and the handling of instincts and sentimentality, as well as representing attitudes, temperament, physique, and above all, social function. Our protagonist is no ... different. He is a walrus, a typical robust and apathetic animal. He is a taxi driver and like a good bartender, he listens to the great stories of his customers, even if this does not involve him directly in his personal ambitions. In fact, Odokawa is detached from desires. Since an accident in the past, his life has bypassed death and he no longer has any support. Also, at the age of 12 he no longer has any guardianship and sees the world without colors, full of intermittent and unpleasant routines. Until one event occurs, in fact, several.

Taichi is the first person with whom Odokawa shows his identity. He is represented by a hippopotamus. He is a man who desires internet fame and views. By irony of fate, Taichi takes a relaxed photo with Odokawa and it goes viral. The reason? Dobu. Dobu is the police's number one suspect in the disappearance of a girl in Nerima. Whether or not he is wrongly accused, Dobu has gained a reputation throughout the region as a very dangerous criminal. Nothing less could be expected... Taichi seeks to be the justice of this "lawless" land, with the goal of capturing Dobu. And this is how the anime proceeds.

Odokawa, who previously had no importance in the plot, becomes the most relevant person in this chess. And for this, only one environment is needed, his cab. It is there that Odokawa lives his most dangerous, funny, dramatic, difficult moments, and at the same time creates friendships and relationships that interconnect all the characters. He, at the height of his 41 years, would not really be a popular man if it were not for this coincidence. But even if this were not the case, Odokawa would be the protagonist of the show.

Shirakawa is the character who builds a bond the most during the show. Even before the show began, she already had financial problems. Part of this comes from Dobu. They were ex-boyfriends and Shirakawa needed a large amount of money in the past. After a long time, she finds herself in despair and planned to sell drugs from a doctor's office clandestinely. This ended the reputation of Goriki, the doctor at the place. Shirakawa then lives a life away from nursing and accomplishes things with Odokawa that surpasses her obligation. Dobu, during some conversations with Shirakawa, asked her to get involved with Odokawa and to get closer to him, as he was one of the key pieces about the missing girl's case. As much as she finds herself in that obligation, she has formed greater bonds with Odokawa. At the same time, Odokawa was already too involved with Shirakawa. No matter how Odokawa tried to keep from trapping those feelings, he was already consumed by a small crush on Shirakawa. Even without talking to Kakihana, one of his only friends, Odokawa had previously told him that his passion was growing. Before it was an inexplicable feeling, perhaps because it was a feeling never felt before. In fact, when one is in love, reason no longer exists. Odokawa finds himself involved in Shirakawa's problems and wants to help her in some way. Going for the solution, he and Dobu team up to solve their problems, even though Dobu initially threatens him with an Odokawa gun over the memory card of Odokawa's car recordings.
And it is from this moment on that things start to get more and more interesting in Odd Taxi. Even with Odokawa being a simple worker, he was not just a submissive character who complied with people's requests, he had to act. And in addition to acting to resolve his conflicts, his own mental problems were highlighted. Goriki, the doctor and his friend, can trace an answer to things that Odokawa identifies with ease. The very way he converses, discovers people's professions, and identifies his friend easily in a crowd makes Odokawa have some specialty. This very specialty puts him in check with his past. Even though he does not assume it, his parents are dead at the fateful moment when he was 12 years old. In addition, his life was troubled even before that day. His mother was an alcoholic and his father was cheating on her. Odokawa resigned himself mentally and as a form of security, he developed visual agnosia. This disease causes Odokawa to see people in the form of animals.

With this and all the obstacles in his life, Odokawa works with Dobu, while wanting justice, after all, both he and Yano and their henchmen. Shirakawa is a precious person to Odokawa, even though he is not good at communicating with women. After Kakihana is rescued, it was normal to think that the show would have nothing to show our eyes. But the show reminds us that it has a big conflict ahead of it. Remember the missing girl in the confines of the show? Then the second half of the show is devoted to the conclusions of the protagonist, Dobu, Yano's group, and Odokawa's friends, who are somehow joined in this event by interpersonal connections. Mystery Kiss, the group of idols, is revealed to be a group that has an extortion scheme under the covers, so much so that it was because of one of the girls by whom Kakihana was duped.

The show does not amplify the overall context of Yano's intentions and his rivalry with Dobu beyond what is necessary. They get money for the Boss and their conflict is sustained on that financial issue. Dobu wants to frame Yano in a subtle way, supported by Odokawa. The two plan with Imai, winner of the giant lottery prize, an attempt to trap Yano and his group, with the aim of framing them. Thinking from this side, the anime and the situations leading up to the final events did not use gimmicks from the past (Like Kakihana's case) to effect everyone's fate. On the contrary, the conclusion of the show is properly consolidated within this exciting event. Odokawa, nevertheless, does not hesitate to solve his own disagreements and besides managing to end up with Yano's group (besides Daimon, the oldest), Dobu was the protagonist of a sad ending and at the same time one of those who got a fair ending for his actions. His interconnections with the young man carrying his weapon was an incredible moment within the penultimate episode. In truth, the anime absorbed a troubled perspective of a boy addicted to a simple game, but one that eroded his mind in a discomfiting way. The addiction, the family stress, the burnout at work, and all his mental escapes were intrinsically condensed into a character that had no obvious relationships with any other character in the show. Ultimately, fate arranged an ending where Dobu had miscalculated the amount of bullets his gun had and was shot... Daimon (the younger brother) was instrumental in accomplishing this feat, totally planned by Odokawa.

About the conclusion, the puzzle closes in an impressive way. Odokawa has her past remembered, while the rest of the characters have a specific conclusion, even if with a bit of insecurity. Sakura, one of the 3 idols of Mystery Kiss, is shown as being responsible for the death of her predecessor Mitsuya, for the sake of rewarding her mother, who cared so much for Sakura. The show's only free criminal is one of the important things that can upset. It is understandable that she was cautious and intelligent, so much so that suspicions were placed on Nikaido, unfairly. Fortunately, the show was realistic and while showing Odokawa's improvement, it shows everyday factors that still need to be resolved in the world of Odd Taxi. It is a matter of subjective acceptance, many like the show to be organic, others prefer a total conclusion. In Odd Taxi, what matters is not in fact this partially disappointing ending, but the entire adventure we had during the thirteen episodes.

Baku Kinoshita's production and work are impressive. It was scary to see that in his debut as an anime creator he was an amazing writer and director. Punpee also needs to be applauded. Those responsible for Opening made a music video to the music from Odd Taxi and it only intensified Odokawa's perspective on people. A world filled with mysteries, adventures, and... animals. No, instincts, quirks, and a great way to build a show that deserves to be remembered for years to come.

I am impressed with the quality of April's animes, but Odd Taxi is the most beautiful conclusion we could have. There will never be another show like it. It is an artistic uniqueness, a manifestation of what it is to be creative and have a care for what you build. Congratulations. Odd Taxi, you are a unique show!!!

When I looked up that Bakuten would be a rhythmic gymnastics anime, I confess I was suspicious. Actually, I was afraid. Last year we had Taisou Zamurai, a show that even with a budget and problems in getting made because of the work of the Mappa studio, was an anime that exceeded most general expectations, even though it was quite limited. But why would this cause me to be surprised to have a new anime that follows the same kind of sport? Well, it is the goal orientation that differentiates the two anime.

Unlike Taisou Zamurai, Bakuten focuses on several characters actively connected to the show's ... sport. This group interaction is a demanding quality of the very construction of each of the characters, since it is Rhythmic Gymnastics, a sport where athletes perform in groups, usually with 6 members. Not only is this formatting fully utilized in the show, but the anime also creates, verbalizes, and positions itself in other groups, from a rival school, to even with the College Club coach himself. Futaba, the protagonist, is an inexperienced kid who, like everyone else, creates a bond out of appreciation for the unfamiliar sport. It is not unusual to think about this. Often, out of prejudice, we imagine that a type of sport has a remarkable quality only in one of the sexes. For example, it is constantly noticeable that we see people saying that Soccer is a sport only for men, or that Volleyball and Handball is focused on women, but Bakuten acts in the opposite way to these social restrictions and creates a new atmosphere within the anime. The show subtly dispels these erroneous ways of thinking and produces a breakdown of expectation in the audience. Futaba, along with us, experiences this sense of integration within the anime without being expository or overdone.

If on one hand Bakuten presents a highlight in its accurate setting, the show creates a great process of immersion and interaction between the characters. In fact, much of what happens in the anime comes from the dormitory. Onagawa, Shichigahama, Tsukidate and Watari are the ones who live daily with Futaba within the locality, which at the same time is a process that creates a greater trust inside and outside of the tatami. Misato is the sixth character on the team and enters after the first regional championship, precisely because he feels blocked in the sport, as he has too much personal responsibility. And one cannot only talk about the current athletes. Kurikoma is the cutest character in the show, being the club assistant. Finally, Shida is the club manager and coach of the team. He was similar to Misato in many ways. In fact, the resemblance was so great that it was frightening. Shida was a brilliant gymnast. Maybe the best at that time. However, his self-centeredness did not allow him to trust and believe in the evolution of younger and unprepared people. Futaba is the essential channel for Shida's overcoming.

However, an anime like Bakuten needs movement and impact, doesn't it? That's right! The biggest problem in expecting quality from a show like Bakuten is the form and effect the anime causes during the climax of its actions and gestures. Zexcs studio is not really a safety when it comes to offering a quality in their shows. In fact, opening their anime page and coming across things like Diabolik Lovers is not a positive for Bakuten. Even with that, it was a studio that evolved dramatically and displayed incredible competence and skill in the overall ornaments and choreography of the characters. The use of computer graphics (CG) is great within the show and attention is also focused on the more superficial details. Within a gymnastics show, mistakes and penalties happen all the time. The anime bravely ensured this and made a great production in the very rich moments. The show brought with it an aspect of realism, which also allows it to show that even if the club has a great evolution with time, it is necessary to train more and more, to reach the National tournament, for example.

Going back to the characters, I have to applaud the author of this show. The formation of the main group was different at first sight, but a friendship formed over time. As the show expands the future of the characters, the past is recounted impressively. For example, Onagawa is one of the founding students of the club at the high school. He suited up to be the club's famous "number one" and put together a primitive team with Shichigahama and Tsukidate. However, his quality as an athlete is evidently not easy to achieve. His own process of transformation within the show is visible in the second half of the show. Since the entrance of Misato, the boy wonder, Onagawa has felt charged to evolve in order not to be "outdone." Even though he could try and train much harder, he reserved himself mentally and gave his activities a rest (with a fake injury), to rehabilitate himself and help the whole group. Misato, along with everyone else, was inspired by the sport through Shida, but at the same time that gymnastics has taken him to great places and awards, he has an internal frustration. Without his parents, he has lived with his aunt ever since, which has given him a sense of importance with people. However, the same responsibility he carries does not help him emotionally inside the tatami, because of an accident in the sport two years ago. This internal block did not lead to Misato's evolution. Even if he was a brilliant athlete, being second in the National tournament, being too resilient and thoughtful, and charging himself too much are aspects that formed his mind and created a self-defense. This hard and rigid shell was only really broken down from the moment Futaba encourages him and provides emotional support during the episodes. Even though this only materialized in episode 9, from the very beginning the two helped each other. The union of this duo with the rest of the team is not only a great choice, but it allowed for different themes and views on what the sport really means to each one.

I should also point out the comedy of the anime. Bakuten is not entirely focused on training and competitions. Many striking moments come from a joke, an entertainment or a joke. Even during intensive training with the Shiro High School team, our beloved group keeps its jovial essence and creates a gentle and liberating atmosphere. The hide-and-seek episode for example was one of the funniest in the show for me. All the pressure level created because of the championships is softened and ironized in a single episode dedicated especially for this moment. (I still want to know who is the scary character that appeared to the boys, it gave me a fright, Lol).

Finally, many moments make for a great show like Bakuten. The staff's work is a great proof of artistic evolution and allows us to broaden our attention and our gaze on animes with different themes than the common ones. Remember Mashiro no Oto? Then, Bakuten is another show that knew what to do from the very first episode, created sublime moments, and surprised in numerous aspects, from the formation of the characters, to even the apexes, which demanded of the studios. Shin-Ei was a studio that improved its own reputation with Mashiro no Oto. For Bakuten, Zexcs was most responsible for this great technical execution of an original anime. It's really a pleasure to have followed 12 episodes with quality. I look forward to the movie of the show, which can offer us much more! And long live sports!

After many attempts, Diomedea got it right. Finally we have an anime that we can rate the studio for its progress and execution in adapting a show based on a Light Novel. Honestly, since the demise of Domestic at Kanojo, I've had no hope of a studio that has been known to significantly damage the original material and which has consequently crippled the entire franchise. But now it's an exception, this time we have to recognize a good job!

Seijo no Maryoku wa Bannou Desu is the kind of show that arrived in 2021 with an idea that was often questioned about its own functionality, even ... more so by those responsible for the show. Diomedéa's staff, as mentioned above, does not have a positive reputation, as their latest projects were weak and didn't even present quality or exclusivity. This is not the case with this anime. Of course, Sei is the protagonist who enters and is summoned into another world, more specifically, the Kingdom of Salutania, along with another character, Aira. One of the two aims to save the kingdom from the evils of a miasma, which strengthens and attracts monsters against unprepared people. Unlike the more common isekais, where the main character automatically fits into a group of strong heroes and mages, Sei starts out in the world as another civilian who is unaware even of the concept of magic and potions.

She, like us, arrives in this world without many expectations of consolidation and positivity, considering that the universe is classic for being boring and uninteresting. Sei even expresses at the beginning of the episodes her breaking of expectations, until curiosity takes her to formidable places. After meeting Jude, one of the employees of the Research Institute, who use herbs and other plants to create medicines and healing potions, Sei becomes interested in a new branch in his life, while his powers and his supposed qualification like Saint are still kept secret and in rumors throughout the kingdom. Sei develops from the beginning the practice and techniques of magic and begins to stand out within the Institute, attracting the interest of Johan, one of those responsible for the place. Along with this, the protagonist begins her shy adventures with responsibility and caution, while she forms good friendships and relationships throughout the kingdom.

Her evolution as an important character is remarkable, in fact, the universe and the natural environment work positively and create a perspective very close to Sei, where she builds strong bonds and wants to help as much as possible. Well, even though Prince Kyle had segregated her and ignored her during her summoning, Sei wasn't shaken at all. In fact, the setbacks made her more mature and decisive in relation to her actions and honors, which made the character popularly known. Even though he had an internal responsibility not to expose himself too much for being the real Saint, if an emergency could be resolved by her, Sei wouldn't hesitate to help. Part of this makes her a miraculous person in the lives of the citizens of Salutania.

But it's not just Sei who stands out during the show. Like Jude and Johan, other characters who come into her life promote her well-being and support her in the simple moments of her research. Ashley, her first friend, sees Sei as a modest girl, but recognizes her incredible potential to save many lives, Drewes is the strongest wizard in the entire kingdom, becoming a teacher and a support for research and improvement. Aira is a character constantly subdued by being considered a farce by the students of the magic school, but Sei supports her, even though the title of Saint has already been used by both of them, by others. Finally, Hawke. He is the head of the third order of knights and is always with Sei, just as a prince accompanies the princess on her tours of the realm (and beyond). I must say that the coolest and most relaxed moments come from their conversations and the relationship that can become a very prosperous love.

Although the show has a greater dedication to the characters, the universe is not harmed during the adventures. Sei is basically the catalyst that promotes future adventures and discovery, like the Klausner region, the herb land of the Kingdom of Salutania. Sei's desire to discover new things during the episodes is conveyed by the audience with competence and dedication. Even though some episodes are sometimes tiring at first glance, episode composition and direction help sustain the show as he connects Sei with his new receptions and events. This promotes a very good show in character and world building. In fact, it's the biggest highlight of the entire show. Without that, we would possibly not have a charming potential within the anime.

Finally, Seijo no Maryoku wa Bannou Desu is an anime that really deserves greater prominence, as it consolidated well in 2021. I didn't imagine I would find a strong show that was interesting in so many ways at the same time, especially in the last moments, where good stories are lost, or in shows that dedicate more to the universe and forget to incorporate good characters. Seijo is an example of an anime that did very well and united these two audiovisual construction elements in a dynamic and promising way. It's a show that I look forward to a sequel as soon as possible. And again, congratulations to Estúdio Diomedéa, even with a low expectation about this project, the staff was very important to keep the qualities visibly high. If you haven't seen this show yet, give it a try, it sure is better conducted than countless recent isekais.