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You will laugh, but I thought this show had promise. A fast moving plot and plenty of big ass mechs? I'm there. Code Geass has a legacy that could never be properly matched (at least not by a successor series). Akito and this series carefully attempt to sidestep the direct sequel accusation for this very reason. In this particular case, the result is a show that whelms.

The main character, Femlouch, rebels against the Neo-Mecha-Super-Britannia Empire 5000. Alongside her is Ash, an expert pilot with a dark past. That is to say he is an anime character. Femlouch is manipulative, but she has a good ... heart. That is, she is also an anime character. Does this not appetize you? Worry not, the show will deliver ample cameos featuring many characters that you would much rather watch. At 12 episodes and a healthy pace (perhaps too healthy?), the show doesn't drag much. This condensed format leaves little room for characters to grow or even stick in your mind. (Seriously, what was the main villain's name again?)

If a buffet of decent mech designs and explosions are your thing, I cannot dissuade you in good conscience. If a Code Geass is what you are after.... Ah well, my Geass necklace commands you to seek elsewhere.

Wow. Somewhere between the intersection of fun, fantastical, disgusting, idiotic, cliché-ridden, and hilarious sits this show. I absolutely expect many normal, well-adjusted people to turn their nose up at this show--can I even blame them? Despite being one of the original progenitors of the genre, it still manages to place a mirror in front of this genre and forces it to confront its myriad complications, all while serving up something approaching a standard-fare isekai. The secret sauce, for good or ill, is the protagonist. What if a degenerate fan of this genre ended up in a fantasy world? I think how much you enjoy ... this show depends on how much you can stymie the visceral "ick" factor. This is not an issue for me, but I think many will be turned off by these elements.

As a longtime reader of controversial books, I don't mind shit-bag protagonists. It's like throwing a match in the firecracker factory. It's a terrible idea but...Lord, what a sight to behold. If you decide to watch, I would arm yourself with that kind of interpretation. Personally, I think decades of watching similar tropes has uniquely steeled me. That's probably a bad thing, but it does help me enjoy anime like this.

Season 2 does lose a bit of the adventurism that defined so much of season 1. The trade is for a more condensed and character-driven arc. Depending on your taste, the show either benefits or suffers from this decision. There’s a lot to appreciate here, but the unremitting darkness of the season pervades everything. If you thought season 1 was surprisingly violent, then I’m not sure what could be said to help you prepare for this one. Season 1 was The Osmonds; Season 2 is Alice Cooper. The first season’s light body horror elements turned out to be a light appetizer. Indeed, it would not ... at all be an exaggeration to call the finale a gorefest.

With the exception of Reg, the story’s focus is not so much on the main cast. Nanachi gets voluntarily incapacitated for part of the season, and Riko could’ve been absent from this season entirely without losing too much. Of course, they both play roles this season, and there is memorable moment where we get to see Riko flex her intelligence against a seemingly unstoppable foe.

As others have noted, Spirited Away’s influence permeates so much of this season. I am unsure it lives up to that pedigree, but it gives a valiant effort. The key difference will be in how you feel after. Unlike Spirited Away, I did not feel much wonder or hope for the future. So, so much is lost by the season’s end, and I can’t wait for season 3.

Reading the reviews here has been amusing. I'm not quite sure what people expected with a title like "Is it Wrong to Pick Up Girls in a Dungeon?" And just look at the main female character. Let's not fool ourselves. You know what this is; I know what this is. It is a perfectly passable series that plays to certain fantasy tropes. It is a dumb series to turn off your brain and teases a kind of wish fulfillment (because we all want to pick up girls in a dungeon).

The characters have one-note personalities; there is little to no plot; and nothing's meaningfully advanced by ... the story's end. The main male character is a Gary Stu with no discernable flaws or personality, and the female MC loves him for no real reason. And so what? Be honest with yourself: did you even want this to be some insightful series that changed your view of this incredibly dumb genre?

No, I think your set up looked like mine--you sat down and wanted to get some work done and turned this on to occasionally watch. This is a great series for background noise and for when you don't feel like investing in something significant. At least, that is is what I wanted, and that's what I got. As evidenced by other reviews, your mileage may vary.

Before every season of this show, I always try to remind myself of how unremarkable it should be. Even the name "Demon Slayer" sounds like something crafted by a paint-by-numbers marketing team. Even thematically, what exactly makes it different from the Black Clovers or Blue Exorcists of the world? The budget certainly helps but does little except highlight the magnificent action scenes. I think it's the pathos and the characters. Maybe. I'm uncertain. It is not an original show; it certainly wear its influences, but it uniquely seems to transcend them, becoming the best version of what those influences should aspire to be. Shonen will ... be made all the better for the existence of Demon Slayer.

Mild spoilers ahead:

Himouto! Umaru-chan is cute anime, even if it not an especially interesting one.

Notably, it says some interesting things about Japanese work culture. Could Umaru's indoor personality be explained by her brother's continued absence and work priorities?

Like many anime, Himouto! tells us just as much by what is unsaid. There's a part in episode 8(the Christmas one) where Umaru notes that all her friends are most likely with their friends and families. A few seconds of silence pass and then the episode sort of moves on.

Yes, it is meant to have us reflect on her brother but there ... is also a lingering, understated question: where are their parents? All we know is that they are rich and associated with some large company. Is Taihei destined to become emotionally and physically absent like them? Will he ever pursue his nascent dream of being a chef?

Thus, this is an anime about emotional exile via work and, in Umaru's case, entertainment. It only in the finale that they are breifly emancipated from their respective addictions. This represents the contradictory nature of Japan- a land of escapism and eternal labor.

Or maybe it's just another moe blob anime idfk.

How should we view DBZ? To write out all its flaws would take me all day. Simpley put, its animation is frustratingly stifled and major characters tend to have the personality of an baked potato. And yet it appears to be an anime we simply cannot do without.

Its presence is mapped in the style of nearly every modern shonen. DBZ is a bit like Homer, its sheer archetypal presence dwarfs any attempt at reviewing it.

Despite this, there is something that drew me to it in the 90s. It was something I'd never seen--a non-episodic epic narrative. Battles were based on raw power and abilities. ... Further, characters would routinely die. The Batman and Superman cartoons, while superior in their own ways, were not that.

Anti-hero figures like Vegeta and Piccolo are recurring wild cards, upsetting the action just as things became stale.

The newness of these concepts cannot be understated. Even now, I think the narrative structure of DBZ is compelling when viewed next to contemporary shows. DBZ is a bedrock to a lot of modern shonen, but it is ultimately a good one to have.

For what it's attempting, Shokugeki is great. If you're looking for an anime that subverts typical shonen tropes then you will either love or loathe Shokugeki. There's large sequences of obvious fan service, ridiculous characters, and even some dramatic scenes. It parodies shonen style but it also adheres to the formula to push the plot forward.

Therein lies the problem with certain parts of Shokugeki; it changes tone so often that it loses gravitas when actually wants it. Megumi finally learns to overcome her anxiety and cook, but it's difficult to take the situation too seriously given how silly the ... situation is.

Another issue lies in the show's pacing. Very little is often accomplished in a single episode and this trend is exacerbated in the show's final episodes.

This is an anime for shonen fans who both appreciate the genre but also seek something new and even a little odd. It's not going to change your life but it might make you revalue the genre in a curious new light.