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Anybody familiar with Tatsuki Fujimoto’s work will be no stranger to his unique brand of eccentric characters, crazy swerves and ultimately poignant deep dives into what makes us who we are. Look Back doesn’t quite match some of the sheer insanity of his previous titles, but chooses instead to zero in on that ‘human experience’ element.

In particular, Look Back is a reflection on our relationship with art, and the process of making art. The drive, the competition, the self-deprecation — the ringer of emotions that creatives are put through in their pursuits are all laid bare. Anybody who has ever had artistic or creative ... endeavours of any kind should make an effort to watch Look Back, or at the very least check out the original manga. It will make you feel seen in a way that few works will.

But Look Back isn’t just about art. It’s also about our relationships with other people, and how our art and in a broader sense, our passions, shape them (and vice versa). Look Back is a rumination on what it means to follow your dreams, the inevitable consequences of our actions, be they direct or indirect, and what we make of ourselves in the aftermath.

There are two overarching narratives at play here, but it’s not exactly clear where one begins and the other ends, possibly because that is the intended point of the film/manga. When we look back at our lives, we don’t usually see it in fragments, but as a whole. Sometimes, we tend to get lost in the details or focus only on the ’wrong’ things. Look Back, fundamentally, is about how we choose to remember what has come before, and how we let it carry us forward.

Go check it out.

Once you've been down the rabbit hole for long enough, anime begins to feel repetitive - it's a common complaint thrown at the medium. So many shows with shimmering eyes, insipid character designs, goofy caricatures and run-of-the-mill themes seem to have held down its reputation. For every Haruhi, there's another high school romcom, and for every Hunter x Hunter, there's yet another painfully average bog-standard Shōnen. Recently, (and maybe it's just me) it has gotten harder and harder to find experimental works with creative themes, narratives or designs. During periods of lull like these, I find myself spirited away to one of my old favourites. ... Sometimes I'll think about the social commentary of A Silent Voice, and at other times I'll find myself ruminating on the ideological conflicts of Monster. And every now and then, I'll find myself rewatching Shinsekai Yori (From the New World), if only to relive everything that it has to offer.

Psychic superpowers are cool, right? I've always thought so. That being said, I don't think I'd ever want to deal with the lofty consequences of ever having to wield such an ability - what if I don't want to wrestle with the moral consequences of knowing that the grocer scanning my bottle of Coca-Cola has been cheating on his girlfriend for two years or pay reparations for accidentally plunging a car into a landmark skyscraper? Agency is key. And I'm scared of not being in control of myself or my thoughts. Let's just say that Shinsekai Yori does nothing to assuage my worries, and probably tossed a few more fears into the pile.

A thousand years into the future, in Kamisu-66 (a closed-off rural settlement located on the banks of a river in the Kanto region), people have learned to live with their powers. 'Cantus', an advanced form of psychokinesis, defines the lifestyles of the villagers: because with great power comes great responsibility. We follow the lives of a group of schoolchildren from Kamisu-66, as they come to learn about the nature of Cantus, the history of their world and the limits of their own capabilities.

Shinsekai Yori isn't a children's show, by any means. Whenever I sit down to watch it or even think about it, I'm always reminded of my own mortality, in a sense. Reality need not stray far from fiction, and I've found myself asking questions eerily similar to those of the inhabitants of Kamisu-66, even though my actions aren't dictated by the existence of psychokinetic powers. As they grow older and unravel the threads of the cocoon in which they've lived, the characters begin to question the existence of their society, the rules that govern it and the morality of the traditions they've upheld for so long. What do you do when your personal philosophy conflicts with the greater good? These are all thoughts that I've had, in my own way. This may sound cliché (heck, even the use of that phrase itself may be cliché) but Shinsekai Yori attempts to tackle what it means to be human in a unique manner, and I've never seen anything like it before or since.

Look, I don't want to get into spoiler territory right now (though maybe I'll revisit that in the future), so I'm just going to finish with some closing thoughts. Whether you're just searching for an anime that breaks away from ideas that you've already seen explored or specifically interested in studying the zeitgeist of Shinsekai Yori's world, I'd highly recommend it. You'll learn something about yourself. Now, time to continue foraging for scraps in this rabbit hole.

Sometimes, after a long, tiring day at work or school, you just want to run home, sit back and relax. And with a drink in your hand, you just melt into the couch and lazily turn on the TV or pull open your laptop to watch your favourite cozy anime. For that role, Spy x Family is a perfect fit.

Look, it's a show about a secret spy adopting an esper (unknowingly) and then marrying a civil servant who moonlights as an assassin, all in an attempt to save the world - if that doesn't sell you on the show, I don't know what will. Honestly, ... there's not much for me to say here, apart from telling you to just take me at my word and go for it. Try it out, see if it's for you. Spy x Family is a show about a dysfunctional pseudo-family struggling to fit into the societal mould - from Loid's creeping realisations that he's starting to fall in love with this familial facade, Yor's struggle with adjusting to home life (being an assassin and all) and Anya's fiendishly delightful escapades because, well, she knows what people are thinking, we're well aware that this isn't a show about normal people doing normal things.

One of my biggest takeaways from Spy x Family is to take life one day at a time - it ain't a sprint, it's a marathon. Don't get me wrong, always have your eyes on the bigger picture, but don't lose sight of the here and now that's right in front of you. And you know what? That's a fantastic way to see things.

Life is a comedy, take it easy.

The beauty of science fiction, in my opinion, is how it uses tales of a distant future to explore themes that are relevant to our modern society, and tackle some of the bigger questions that life has to offer. Going through Naoki Urasawa's oeuvre, you are likely to come across more than a few shining gems dealing with these kinds of heavy ideas and concepts. It becomes clear after going through a few of his works that he loves his giant robots and advanced technology. His take on one of the best arcs of 'Astro Boy' is not only his best work of pure ... sci-fi, but one of the best stories that discusses what it means to be human in any medium. That work is, of course, 'Pluto'.

'Pluto' follows Gesicht, a robot detective working for Europol, on his mission to solve one of the most puzzling cases of his career. The case involves a string of murders, of both humans and robots, where all the victims have been discovered to have objects protruding from their heads which are shaped like horns, or to have such an object positioned by their head. Moreover, the killer seems to have two major targets: the seven most advanced robots in the world and humans who have some connection to preserving the robot laws that govern their civilisation.

Although the plot itself is interesting, what really makes the series special is how Urasawa explores his characters. It's an odd thing to say, but the robots feel very 'human' in their portrayal, and have fleshed-out personalities, instead of just serving as mechanical backdrops to the plot. They have their own quirks, interests, lifestyles and philosophies that distinguish each from the other. The point is, they rarely ever feel stale.

To say any more would be to rob you of a one-of-a-kind experience. 'Pluto' does not waste any time in making its point. At only 65 chapters, it is a relatively short series that just about anyone can spare the time to read. This makes it a great jumping-off point for new readers of Urasawa's work. In fact, this is a series that I regularly recommend to anybody who is interested in manga. So, let's cut to the chase, shall we? Stop reading this, and start reading 'Pluto'.

The art of the adaptation is, as any other, a colossal mountain to scale. To reach the summit, nothing short of mastery is necessary. Though, it must be said, there is no shame in climbing most of your way to the top and deciding to call it quits. Either because that final stretch seems impossible to clear, or to make it this far was your goal from the start. This is where many adaptations place their white flags and wave to the rest of the world. In anime, this is where many mildly successful manga adaptations meet their end: good enough. It is rare to ... see one soar to the top, and even beyond. And even rarer to see two. Of the same work? Now, that's a true treasure, right there. You see where I'm going with this, don't you?

Spend enough time in the community, and surely the name Fullmetal Alchemist will have been shouted from the rooftops a thousand times, at least. In this day and age, who hasn't heard of it, right? Those who have done a little homework will have realised there are actually two separate anime adaptations with that name: a 2003 one and a 2009 one. Okay, easy enough to understand. Which one do you watch? And therein lies the bigger problem. Well, in this review, I'll be taking a look at the 2009 one, Fullmetal Alchemist: Brotherhood, and how it fares in comparison to its elder brother.

By now, it's a given that almost everyone will have a general understanding of the basic premise of the series: two brothers, in an effort to bring their mother back from the beyond, perform an experiment that goes horribly wrong, and so begins their journey to try to find a solution to their predicament.

The narrative of Brotherhood is tightly-written, and quite consistent in delivery. It appears to have been a well-planned story with ideas and concepts being developed from beginning to end with seldom a pitfall. There are no stooping lows to the curve, and occasionally it peaks during moments of electric excitement. Arakawa-sensei, the mangaka, has carefully crafted a philosophical epic which manages to seamlessly weave thought-provoking themes and high-octane action. From Plato to Nietzsche, it is clear that the work has taken a page out of some of the most influential philosophical texts ever written, and somehow combined it with its own brand of slapstick comedy and adrenaline-fuelled fights. And the ending achieves a degree of catharsis that few stories ever do. That said, this adaptation, and even the original source material, is unabashedly Shōnen in nature, more so than the 2003 anime. Overall, the tone of the series is significantly lighter and warmer in contrast to the tragedy-loving 2003 adaptation, despite the underbelly of darkness lurking throughout both. Moreover, for some viewers, the first fourteen episodes will appear to be incredibly rushed or paced rather poorly in comparison to the remainder of the show, and some speculate that this was a conscious decision, to speed through the parts already covered by the 2003 adaptation. Whether or not that is true, I cannot say.

Brotherhood has a much larger ensemble than its predecessor, but manages to develop the major players as well as the original. Nobody is perfect, and the story does well to highlight the flaws in each and every single character, including our beloved protagonists and heroes. Many of the antagonists act as interesting and memorable foils for our heroes and will be remembered for years to come. While some may argue that the 'Big Bad' wasn't really all that much, in my opinion, they were actually a fantastic antithesis to Edward. The 2003 anime on the other had a much smaller cast, but as a result allowed a deeper look into many characters who were not as prominent in the manga or 2009 anime.

So, reader, should you watch the 2003 anime or Brotherhood? Easiest answer: watch both of them, and if you end up liking them, check out the manga! On the other hand, for those of you who want to make a concrete decision, then it is better to see them for what they are. They are different shows. The 2003 anime is a dark, character-piece which delves into the lives and tragedies of our main characters as they realise the truth of their world. Brotherhood is the epic journey of two brothers and their friends as they uncover the truth behind their world on the path to redemption.

And with that, I bid you adieu.

I’ll try my best to keep this brief - we’re only halfway through the second season, and as such I don’t want to rush to any concrete conclusions.

To say that Re:Zero has been a rollercoaster wouldn’t exactly do my thoughts on the series justice. Back in 2016, I was able to catch the first season while it was still airing, and like many others have been hooked ever since. Delving into Subaru’s psyche as he was faced with the turmoil that arose from the unique circumstances that plagued him and him alone in this unfamiliar world was terrific, to say the least. Combine this ... with a fascinating fantasy setting, and an interesting supporting cast, and you’ve got yourself a recipe for success.

However, it always did feel like something was missing, at least to me it did (apart from a legendary run of episodes near the middle, which were superb in all respects). While I wouldn’t say that the second season so far blows the first season out of the water or anything, it was certainly an improvement on an already solid foundation. It is more consistent in quality than its predecessor, and its high points are just as fantastic. The world and supporting cast are both expanded and fleshed out (especially more minor characters from the first season). We also get insight into the pasts of our characters, and the potential consequences Subaru has to face if he chooses to abuse his ‘power’. All in all, the importance of this season (again, so far) is in developing whatever made the series so appealing at first. Of course, it also carries the same emotional weight that made the first season so popular.

All of that aside, White Fox has done a phenomenal job with the series, and has treated it exceptionally well. Apart from the stellar animation itself, the hard work they put into providing extra content has sincerely paid off. The music fits the show like a glove, and is otherwise an absolute killer standalone. Even from a production standpoint, it was great.

Re:Zero’s second wind has been, overall, pretty damn good, if I may say so myself. I am more invested in the story and characters than ever before. Hopefully, this winning streak manages to last.

Out of all the anime that began airing during the Winter 2017, one of the first to catch my eye was 'Kuzu no Honkai'. It garnered quite a large following as it was airing, and attracted my attention just before it came to an end. So, what did I think about it? Now, speaking for myself, that question isn't exactly easy to answer, because I have a hard time saying just what I got out of this show. Nevertheless, however 'amateur' my method may be, I feel that it will do me good to just let all of my thoughts out through a review.

'Kuzu no ... Honkai' is a rather 'dark' romance that surrounds the lives of two high-school students, Hanabi Yasuraoka and Mugi Awaya, who find themselves in quite an unconventional relationship. You see, the only reason they decide to 'get together' is because the people that they actually love are 'out of their leagues'. I apologize for being vague, but I find it difficult to explain this any further without spoiling the story.

The predicament that these two find themselves in is, to us viewers, interesting to say the least, and likely a deviation from what we are used to seeing. Going through the minds of people who are stuck in such a strange situation makes for quite a lot of drama and tension. In fact, the other characters also find themselves entangled in a web of deceit, trickery and what-not. Depending on the viewer, they will either find themselves highly entertained or very bored. The interactions and relationships that the characters maintain with each other serves as the driving point of the story if you ask me, and if they do not hook you then I believe that you will be left unsatisfied by 'A Scum's Wish'.

Now, onto the characters. It needs to be established that practically every character in the story is flawed and imperfect. Of course, this would seem quite normal . However, what I mean is that, these are conflicted people, often possessing dubious morals, and they are fascinating because of how conflicted or dubious they all are. They are not virtuous, and do not act as such, and that is what draws one to them. They are all 'morally grey' so to speak. I have to give a nod to all of the characters, whether they were 'good' or not, because they all drew me in, and were all compelling in their own rights.

However, at the center, we have Hanabi, the protagonist of the show, if I were to give it one. If you ask me, she is arguably the most interesting character that we are presented with. Through her queer relationship with Mugi, to the long-standing love she has for Kanai, to her friendship with Ecchan, and to the way she develops through the course of the story, she comes across as perhaps the most intriguing character in the series. Watching and understanding how conflicted she is about her relationship with Ecchan and Mugi, as well as the struggle of her unrequited love for Kanai, and all the hardships she endures throughout the story, is quite a 'ride'.

The original soundtrack for the series was excellent. I can't really elaborate on that. It fit the show and it also stands individually. Not to mention, 'Kuzu no Honkai' sported an ending that suited it to a 'T' thematically, and had a very fun opening as well. I can say the same for the art. I personally thought that it was fantastic. The colors used in the show were great, and I want to give props to the staff for deciding on such a marvelous color palette. The animation was also great if you ask me, but I am no expert on animation.

Many people here think that 'Kuzu no Honkai' was depressing for no particular reason, and that it needlessly pulled off unnecessary stunts. People knock on its story as well for being simplistic, and also may find its characters shallow and uninteresting. However, I am not someone who shares those opinions. However, they are as valid as mine, but I believe that if you want an honest opinion on the show, you should give it a try so you can formulate your own. Indeed, I do not believe that the show is perfect. I too feel that it has some flaws in the story department, and even in the character department that I showered with so much praise, but I hold that it is a solid anime worth your time if you are looking for a 'different' kind of romance. I hope I managed to hold your attention with this review. Thank you for your time.

Before I begin, I'd like to preface this by saying that some may consider the following paragraphs to have spoilers, but that was unintentional on my part, and I would like to apologize and say that they are only minor details.

Times exist when you are expecting something alright,but receive something actually unique and wonderful. Monster is a series that has been endlessly praised and even harshly criticized for years,but here I am,stunned by what I have witnessed.

Monster creates a deeply disturbing and seriously immoral world,and plunges a perfectly kindhearted man into its abyss of terror. Kenzou Tenma is a prodigy in neurosurgery,perhaps even a master ... at it,who works in a hospital that has been corrupted by its own politics in Dusseldorf. Refusing to obey the director,he chooses his own morals and decides to perform surgery on a young boy,rather than on the Mayor of Dusseldorf. This is merely a kernel of the story of Monster,and is just the surface of it all.

The journey we experience throughout the series is breathtaking and is superb. Dr. Tenma's desire to stop Johan Liebert and his struggle to control the monster that is Johan himself,while ensuring that he himself does not succumb to corruption makes for a spectacular series. I will admit that,while personally I had no problem with the pacing of the show,some may find it a little slow at times. The story is magnificent in my eyes,but it progresses at quite a leisurely pace for some.

The characters in Monster are absolutely amazing. Dr. Tenma's core belief that all people are equal and his refusal to kill no matter what circumstance is his defining characteristic. Many would like to say that his flaw is in his effort to be flawless. Tenma's morals and ideals are what he grasps at desperately to save himself from becoming a devil himself. Johan Liebert is an absolutely demented and twisted character,and his embrace of the evil growing inside of him is a malicious sight indeed. Johan's deceitful personality almost overshadows him as a cruel and almost,if not completely,inhumane monster is integral to the story obviously,but also to other characters we are introduced to. Heinrich Lunge,an inspector trying to hunt down Tenma for a series of murders,and his relentlessness in his approach to do so,is a character whom you may hate at first,but over time you begin to see him as this character who will do anything to either prove himself correct or to repair his errors. Among these there are many more characters who are intriguing and fascinating; main characters and side characters alike.

The music in this series was brilliant to say the least. The opening theme,'Grain',is a mysterious and captivating piece that is a complete contrast to many anime openings we see regularly,and its two ending themes are quite strange,but in their queerness they fit with the series. Personally,I thought that the background music was fantastic,but not flawless. The art and animation is also consistently great throughout the grand scope of the series,but never falls into that perfect category.


Perhaps this is just quoting public opinion,perhaps I am blinded by some sense of bias,or perhaps the series is too fresh in my mind,but I think that this series is phenomenal,and is a gem in the medium of anime because of how well it blends character and story,and how difficult it is to separate the two. Monster is an anime that will stimulate your mind,instill fear in your heart,and bring you an enigmatic sense of enjoyment all at once.

WataMote is a peculiar show, in an almost literal sense. It was a genuinely strange series,with a nevertheless interesting concept WataMote really tried to elicit too many emotions,and as a result could not draw any of them out properly,nor could it polish all of its characters,but it manages to stay enjoyable.

WataMote follows the life of a shut-in teenager who has some really queer qualities. It follows her life as a high-school student, and her quest to acquire true friendship and romance-to become an ace of life. Our character is highly socially anxious and has low-self esteem,while constantly showing her resentment for others,through her thoughts and ... 'subtle' actions.

The cast of characters is as eccentric as the show itself. We have Tomoko Kuroki,our main character,an introvert and overall weird person,her brother Tomoki,the popular boy in his class who loves to play sports,and although younger,assumes the mature sibling role. Tomoki is the person who our main character constantly goes to for advice on how to be more social. Next we have Naruse Yuu,Tomoko's best friend from middle school,and she acts as a sort of idol,or unattainable perfection for Tomoko,resulting in an unspoken jealousy on Tomoko's behalf. Aside from these three characters,we have some recurring characters like the student council president. The characters themselves are not spectacular or overtly unique,nut they're interesting enough.

I'm not a huge fan of the art style,but I can see how it would be appealing to some. The animation is not amazing,but it's alright. Personally,I like the soundtrack and think that the opening was really nice all considered.


WataMote was really strange experience. Now,it is by no means a masterpiece,or even close,but it was enjoyable,and is nice,all idiosyncrasies taken into account. It tried to bring out a multitude of emotions and in the end created a really strange mixture of them. To sum all of this up: WataMote is a strange telling of an awkward person's boringly exciting life.

Grief,a cruel emotion,one that completely devours your mind and then negates any other feelings that you have. The submergence of oneself in sorrow can lead to chaotic happenings,and slowly the known world begins to dissolve in a strange concoction. History itself may be rewritten...

Satoru Fujinuma is a twenty-nine year old Manga Artist who fails to make ends meet in his day-to-day job,and is heavily reliant on his secondary job: Pizza Delivery. He is subject to an inexplicable phenomenon which he calls 'Revival',in which he is sent back in time before any terrible event occurs. In a short time,we learn about Satoru's past,about his time in ... elementary school,his relationship with an awkward man,and his bond with his mother. Back when he was in school,three children from elementary school were murdered,and his close friend had been accused. Back to reality,while saving a little boy from death,Satoru himself is hospitalized after arranging himself an accident as a result of 'Revival'. After a whirlwind of events that involve catastrophe after catastrophe,and one precious loss,he is sent back in time to when he was in elementary school,so that he could change the scope of history,and reclaim what he had lost. Thus,begins the story of Boku Dake ga Inai Machi,or,ERASED.

Boku Dake ga Inai Machi has a very simple story that is not very complex in many aspects,nor does it need to be. However,I feel that it could have been handled better in some regards,as it gets predictable and quite too simple at points. The art and animation in Boku Dake ga Inai Machi is spectacular,at least in many regards. The scenes in Boku Dake ga Inai Machi are well animated,and can become really good at times,and this is one of the series' strongest points. Another argument in its favor,is its soundtrack. The opening and ending themselves are absolutely superb,and deserve to be appreciated for how wonderful they are. The background music in Boku Dake ga Inai Machi ranges from good to excellent,but not outright bad.

ERASED has quite a few characters,but,not all of them are perfectly developed. The large number of characters makes it more difficult for them to be fleshed out,I understand. However,I feel that they needed more time to be nurtured,to be utilized to their full potential. The first half of ERASED was fantastic,but the second half could not live up to it. Nonetheless,it stands that,overall,I find ERASED an enjoyable show.

The show is not what it was hyped out to be,nor is it as overtly horrible as others would have you believe. What you do have,is a good show that is very polarizing to many,but if you can look at it with neutrality,I think you'll have a good time. Boku Dake ga Inai Machi is no masterpiece,but it is a good show that is worth your time if you can get into it.