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The first time I heard about this series, I didn't feel any different from your average normie in terms of the title and premise, so I started reading the manga thinking at first that it would come true. What I didn't expect was that behind that seemingly "suspicious" facade I was going to find one of the most interesting dramas that Japan sometimes, with its crazy ideas, wants to impress on those who are not familiar with its culture and way of seeing things.

The first thing to highlight is the characters facing different circumstances in their personal and family lives, and although the premise may ... seem to take the seriousness out of the matter, the truth is that the effect is exactly the opposite. One can imagine different situations that people must face regarding death or what remains to be done afterwards, and no one is prepared for one where a person in a surreal way tells you that he is the reincarnation of a relative from the past. Although at first it may seem immature on Keisuke's part with his reactions and jokes in bad taste, over time the feelings and emotions of this family are developed in depth, as well as other secondary but interesting stories of other characters that in one way or another affect the main cast. The beginning is more like an introduction to the characters, showing their small moments of family happiness and a certain comedic tone, but this is built up until reaching the second half, where the magic begins to shine.

Without a doubt, the most defined character is Takae (under Marika's body), Keisuke's (ex)wife and former coworker, who knows how to deal with her new life and the one she left behind. She takes the lead in leading Kosuke and Mai on a better path while dealing with her own problems. But also, another character that stands out a lot is Chika, Marika's mother, who we see an important development as a mother and a person, even some people with family problems can find some empathy in her at some point. My problem, however, comes from Kosuke: even though we can sometimes see a mature attitude with his companions and he tries to improve himself, he also depends too much on Takae to avoid making a mistake about the secret, and this is because the adaptation rushes a good part of his development which can give a different impression to the viewer than what the original work tries to give. Mai is a good character and is perhaps the one who should also stand out as the center of the whole thing between Keisuke and Takae, but again, unfortunately the adaptation omits a whole important story that involves her as one of the key elements in the second half of the show.

It's obvious that the production doesn't do justice either, the animation and design style is more generic and is a "nerf" to the manga style. And it's not like the original drawing was as striking as the content of the story, but damn, they can even lower the standards for this. Also, stressed throughout this review, the cutting and pasting of the script to, hopefully, fit the most important moments of TsumaSho, which to be honest seems to work, but with a rather risky bet very noticeable for those who read the manga, and those who didn't, will not stop having a feeling that pacing too fast.

So, the good thing about TsumaSho is that it keeps the essence and the most important scenes in 12 episodes. Unfortunately, it compresses 112 chapters into just that, which makes the pacing as quick as possible. However, it is still an emotional series that, with the initial impression you may have, is interesting to watch and experience on your own. The story is too good to not get justice, although it is up to each person how you judge the circumstances of each character. I admit that I live in a generation that seems to be more tolerant than it is believed with stories like these, although we still have fans who mostly judge things by the cover rather than the content.

Anyway, I recommend this show if you are looking for a drama that makes you feel sad, since its entire story can at some point bring out an emotion and perhaps a tear. We have all lost a loved one at some point, and when have we not wished to have lived more moments with that person. TsumaSho teaches the viewer to face reality and live it, that life goes on and what we can do while we are alive is to continue saving moments with those who are still around and are part of our sense of life, even though this does not make us forget the pain of having lost others.

“Isn’t it funny how day by day nothing changes, but when you look back, everything is different…” -C.S. Lewis

There will be a day when we have to leave. It is a destiny that we must all inevitably accept as part of the maturity and growth of an adult. How we should make the most of our time when it goes relatively quickly (for others, it is slow) while adapting to the constant changes that our society undergoes may not seem very easy - especially if you are a teenager who questions everything you have been taught, or an old man who worries about those who ... will form the next generation.

Beyond that, the purpose of why we are here and where we are going begins in this story as Sousou no Frieren (Frieren: Beyond Journey's End)

Although it appears to be mostly episodic, there is a goal behind this re-adventure. The story is mostly presented in retrospect of Frieren, our main heroine, who is accompanied by different people along her path, as well as those who once stepped on the same foot as her. This is divided into two parts where we see the present with the current party made up of Fern and Stark, and the past where we see Frieren in his days with the group of heroes who would defeat the Demon King - in the same place, different time.

The show helps a lot in developing the character of Frieren, an elf who is technically immortal in the eyes of a human being, who begins to learn to appreciate those moments that for her happened in "a single blink." Well, she knows that one day her life can also happen after one of those blinks. We can then notice how her perspective has changed from being somewhat cold and indifferent to considering a little more the beings closest to her, realizing how much she "would have done" when what is done is already done.

Some will object that because this takes place after defeating the Demon King, the purpose of developing an "After Story" without all the action and intrigue of fighting evil is lost in a slow slice of life story. Despite that, there are also moments in which our characters encounter remnants of the Demon King that, being secondary to the main story, are entertaining to watch for those who were looking for a bit of action. And it is undeniable that those looking for action will take note of the effort made by the animators and the direction of the combat scenes, which are not few.

However, if we see Frieren as an Action Shounen, then you would be missing out on all the magic that, accompanied by relaxing and comfortable moments between the trio, a show of this style has for the public that seeks stories full of adventure and a little tear. Despite how depressive and sad the premise may sound in principle, its key point is the way it keeps the viewer distracted, since what their stories seek is to tell a story of their day to day life, in the memories of our character. , as if it were a momentary occasion. There is no end beyond leaving some anecdotes - some epic, others more everyday - and continuing with the journey. This is important since this is when the viewer will most appreciate the moments that Frieren lives in the moment because it will never be the same as it was before or would be after.

Frieren is one of the works that I started reading after learning that it won an award for best manga, and I am more than satisfied with the adaptation from its technical section to those scenes that I would not imagine were this impressive compared to what I read in the manga including the battle against Aura or the exam arc.

Although it is very subjective to think which best work exists, Frieren: Beyond Journey's End is undoubtedly one of the best works of recent times, with emotional moments from the former heroes and more fun ones with the current trio. Stories in which we appreciate even more the unique moments of life, and a little reflection on where we want to go.

Harem has a problem that has been little considered: stories of this type are oriented so that the viewer is immersed in a fantasy where a group of people (generally, girls) have feelings for the main character, so it depends on the time of participation is given to each lover as the ability of its author to generate interesting stories with so many characters that pursue their crush.

So if you add a "Point A to Point B" style story such as having to choose one of them was that purpose, it leads you to demand between generating expectation in the viewer of who is likely ... to win while maintaining interest in the show's fanbase with stories about the girls. In practice, there are groups of fans (usually those who are not harem fans) who seem to care more about how the story develops or how relatable the main character is, even going so far as to criticize the basic idea of the harem as unnecessary or a distraction to develop their characters.

Anyway, if these problems occur in harem where there are 4-5 characters in love with the character, then how the hell can 100 characters work? Or they thought that was a problem...

The 100 Girlfriends Who Really, Really, Really, Really, Really Love You (abbreviated as "Hyakkano") is an ambitious project: where a guy unlucky with his love lives is given the opportunity to get a total of 100 girlfriends just like the title says it. You don't have to be a detective to conclude that this parodies any harem title. Even still, it makes fun of those stories that, mentioned above, seek to focus so much on "Who will win?", well, in a matter of minutes the show makes it clear to us that its intention is to make us laugh rather than to emphasize too much on a realistic story.

Likewise, the show manages to use the frequent tropes and jokes of these stories, the use of constantly evolving personality archetypes that are deconstructed as the show progresses, as well as any other nods to popular culture. Even breaking the fourth wall by making fun of the series itself or the author is a frequent joke that stands out, not because it is not original, but because of how unpredictable it becomes when you immerse yourself in this story.

The animation is at a decent level, with a cute and common design for this genre. Unlike what Bibury Animation Studios did with The Quintessential Quintuplets, we see that there is greater coherence to the manga designs. However, let's not expect a surprising level, but a lot of effort when it comes to recreating the jokes and references. What is striking are the faces of the characters, especially when they become more robust. They are a curious part of the show's appeal.

As for the Opening, Daidaidaidai Daisuki na Kimi e♡, is a seiyuu song that aims to be the main topic of the show. The music video is a comedic summary of the problems Rentarou must face with his first 5 girlfriends. Overall, it's a generic song and nothing out of the ordinary. The ending is more elaborate, although it is still a J-Pop song that, however, fits quite well with the music video: which is a chibi sticker representation of our heroines doing their most common activities, ending in a meeting of them playing and having a good time, in the absence of our man.

Finally, we highlight the performance of the voice actors adapting to the archetypal role of their character. The exaggeration of uncomfortable situations makes the dialogues not very natural, but it is for the same reason that it makes it impossible to take any silly issue surrounding the characters very seriously. I highlight the moments in which Rentarou gives a hasty and nervous opinion when some of the girls say or do things in each scene.

There are more technical sections of the show that I would like to mention, but even this is a spoiler that I prefer to save so as not to ruin the joke. Especially if it's the first time you're hearing about this show...

When watching it, several fans will question that Hyakkano is more of the same and a repeated joke from many harem comedies. And since this is a progressive (and slow) introduction of each girlfriend instead of a pre-established number of girls who will already pursue the guy, some probably won't take the long road to choose the "best girl":

However, in Hyakkano, the surprise here is that all the options can be correct because the characters stand out in their proper episodes, including the main male character. I don't tend to give them importance because they are nothing more than a means for the fan to be immersed in the story from their perspective - That is, it is the least relevant when it comes to developing and deepening the harem. However, just as there is a Saito Hiraga in The Family of Zero, Rentarou Aijou is an exception: although seeing characters "be a man" and do things that a fan would like to see from this show is the second most common trope (after the "nerd loser"), the show breaks with a common trope in current romances, and that is that Hyakkano manages to "make things happen" between the characters and not be nervous episode after episode about joining hands. From the first moment, Rentarou and the girls have their pants (and skirts) on well realizing that they are in a romantic relationship, so from this show you can expect a lot of kisses at the very least from the things (among other fun moments) that this group does in your daily life.

Even so, the main challenge is what lies ahead after this initial journey: and that is that from the beginning, wanting to introduce 100 characters (and at the rate at which it goes) already leads to demanding greater creativity, but also granting participation to all its characters, if their intention is to leave it unknown who can win in the love affair so that the viewer does not notice the obvious, or just have a good time with the crazy things that this growing casting offers us. I know that those who follow the manga may feel comfortable with what Hyakkano is, but opening it up to a general public is a different case. For now, the first impression of the show is that it can be approved by those who want a bit of laughter and cute moments at the same time, as well as a few surprises here and there in each episode.

Overall, Hyakkano is an absurdly fun show, and I'm not exaggerating in saying that its crazy premise is unique, if ever anyone hasn't thought of it before. There will be shades of some fans who will argue that it is ridiculous for a harem to have a character suddenly get an unimaginable number of girls after him without any logic, especially if he receives the favor of God. But since when has someone criticized that water is wet?

Veterans who grew up with the ecchi/harem of the 2000s (or at least recently liked series from that era) will find Temple like you were watching Mahoromatic or Love Hina in your teenage years. And in a generation of fans who are more demanding every day with entertainment - expecting, I don't know, that everything is about society's problems or socio-political criticism - Temple gives a slap to those rabid fans who expect that all demographics (including ecchi) are subordinated to the same type of narrative: Always having a "purpose" that, otherwise, ruins the tranquility of those who consume it by being "uncomfortable."

The problem with ... Temple is that it doesn't bring with it anything new from what we've already watched from any ecchi/harem. Even ecchi/harem fans could expect new ideas of fanservice or comedy from this, despite the fact that series based on Buddhism are not very common to see (Besides Amaenaide Yo! or Yuuragi sou no Yuuna-san). However, Temple bets on what a veteran fan already feels more comfortable with, which is watching your typical anime full of "accidents" and contextualized perversions without the need for sex everywhere.

And no, I'm not referring to just spontaneously showing a shot of tits or legs like the popular ecchi and "ecchi" of today, there is really an effort to take advantage of the jokes and show the shamelessness about it. You have falls, accidents, absurd comedy, and even something like Twister lends itself to a hot scene. Temple doesn't need voluptuous exaggeration or a barrage of contextless or unfunny fanservice to be entertaining, it just needs to be your typical Rom-Com with funny ecchi scenes. The religious jokes make this show even a comedy for the people who already have their pass to hell.

To be honest, I have a mixed opinion of the animation. Yes, it is true that there is a lot of effort and detail when focusing on the body of the characters, from the chest, butt to the suits as extra points. However, in the rest of the occasions, where there is no fanservice but in normal scenes, the inconsistencies in the drawing are very notable, sometimes noticing that in one scene or another the propositions of the same character are different (suddenly, she had a bigger breast and in others smaller, or equal to other girls).

And a much smaller problem is the voices. For the public that is not used to having a voice different from that of a crying teenager, they will find it strange that a voice of a 30-year-old adult seeks to fit into the norm of casting voice actors.

But apart from that, Temple is a series that does not stand out for its animation or casting, but for what it offers.

There is a linear plot around the debt problems of the Mikazuki Temple and Akagami's growth to be a different person from his father, besides all its episodes are dedicated to each of the girls and to developing their personalities. In addition to having three different EDs depending on who it focuses on: "Oidemase! Mikazukidera" for the entire cast, "Itsuka wa Mangetsu no You ni" for the Aoba sisters, and "Culturegap Temptation" for Mia and Kagura, two residents from the foreign. but this does not mean that the show does not seek to take away the seriousness by adding comedy and entertainment in between. This show is fresh air from so many series that bait their audience with some fanservice for teenagers without reaching anything else, or going any further. And I don't discredit those who try them, but Temple does what a good ecchi is supposed to do and that is to highlight at every moment every facet of what makes up a person, with a touch of laughs and a theme, like Buddhism, that justifies everything that happens in each episode.

Sometimes, you need to turn off your brain, stop caring about the details, and enjoy what is presented to you in front of you.
Reviewer’s Rating: 8

Wow, I didn't think I would find an anime quite unknown to those looking for a moe comedy full of characters with such different personalities. And the result, after watching 12 episodes, is that... it was hilarious and funny at times.

Okay, Sensei no Ojikan (Teacher's Time) tells us about Mika Suzuki, a teacher who, despite being close to her thirties, is very short so her students don't take her seriously.

Well, basically all its episodes do not follow any sense but are sketches of each student doing something with Mika-sensei or with another student, from something normal like talking about a random topic to the surreal ... with one of their characters attached to their own imagination. If you have seen other comedies in the style of Azumanga Daioh, Paniponi Dash or Lucky Star, probably in Sensei no Ojikan you will get a similar experience of cute everyday school life.

Although Mika-sensei is the protagonist, her students are the ones who steal most of the show. In fact, there's a range of characters with personalities typical of a Japanese sitcom, but also other types of characters that you wouldn't normally see in a moe sitcom (the inclusion of male characters is one of those): we have the class representative, the energetic and naive girl, the "ojou-sama", the one who is obsessed by the teacher, by the feminine side. On the masculine side there's the transvestite, the "old man" (although he's really a teenager), the manga-drawing otaku, the dumb athlete, and his best friend who he's in love with (and doesn't know it). Yeah, even if it seems absurd, but this works on many occasions where different personalities mix for different jokes throughout the show.

Of course, which can have its disadvantages since it may be difficult for you to identify a bit with any of them. Likewise, this show is made for a more niche audience with "very Japanese" jokes in which you need to know a little more about their humor and culture. On the other hand, if you feel ready enough to go further down the iceberg of cute Japanese shows, then I'd say Sensei no Ojikan would be an interesting option if you have no idea what to watch for the week. There are episodes where there is comedy, but in others there are moments where Mika-sensei spends good times with her students in her day to day (The Festival episode is one of my favorites).

Despite that, its artistic section is not very striking. The design is much more "pretty" simple and short than if you compare it to Azumanga Daioh (which many will think is inspired even though Sensei no Ojikan's manga was published two years before it). Likewise, don't expect excellent animation either, it's just average and nothing out of the ordinary.

Both its opening and ending theme songs are simple but strangely catchy J-Pop songs. The first, played by can / goo, has a more pop rock style that describes Mika-sensei's day-to-day life, her personal life and her family life, and her life as a teacher with her students from she. The ending, by DROPS, has a more 80s-synth-pop style that, curiously, is a cover of the original 1984 version played by Tom Cat, another Japanese band.

Too bad there aren't many voices that you may have heard from Sensei no Ojikan before. In itself it doesn't seem appealing to an audience looking for a predominantly female cast in moe comedy. But the biggest problem is how it is presented:

Something that Sensei no Ojikan abuses a lot is the use of large texts in each dialogue, joke, action or even when representing the feelings of the character. On some extreme occasion, it seems as if you are watching an animated manga than an anime. Likewise, the show's sound effects can sometimes be missing in favor of using text to represent said sound. It is as if they had saved a budget to even limit the movement of the characters at various times.

Also, said before, if you haven't gotten very far with the anime, it's probably that picking Sensei no Ojikan as one of your first animes can give you a long experience of jokes that are better understood by speaking the language, repetitive structures and some characters that you may find annoying.

However, personally, Sensei no Ojikan was a pleasant experience. Having seen several moe comedies already, Sensei no Ojikan was an experience not so out of the ordinary. The characters were what kept my spirits up as I watched every skit on the show. Also, it has its merits of granting male representation, such as even experimenting with new types of personalities, in a type of show where only cute female characters exist. It can make you laugh a few times, other times it may seem annoying or boring, it will depend on your mood.

And yes, indeed Sensei no Ojikan was... hilarious and funny.

I'm surprised that not many people are reviewing the manga of one of the most popular CGDCT, and apparently not many have read it. Maybe someone will say something like "'Why do it if the anime covers all the content of the manga?" and you are totally right. However, I think that if you just watched the anime and want to repeat Non Non Biyori again, why not try it in black and white this time?

There's not much to say about it: a countryside where students of different ages study in the same classroom, a candy store whose route of arrival is by walking through ... a tunnel, and… a raccoon named Gu? Yes, the things you can find can really sound boring if it weren't for the fact that its main characters make it more interesting and fun than one imagines.

The beauty of Non Non Biyori is that nothing happens and you don't need to wait for it either. There is no violence, there is no action, they are self-contained stories of the 4 girls doing things very calmly, chill and with love for simplicity. If you were hoping for more than just a Slice of Life, however, you'll probably fall asleep as soon as you try it. It doesn't make an effort to create exaggerated jokes, but rather to repeat Renge's greeting "nyanpasu" or Hotaru making Koma-chan stuffed animals so many times and just for that they will let you smile every time.

The art is beautiful, you can feel over time how slightly Atto changes the drawing style of him a little bit without changing the essence. My favorite part is the characters' expressions at funny moments, especially Renge and Komari's.

If you want something you can feel comfortable with on hard days, Non Non Biyori is medicine for that problem. You can read it in the order you want, whenever you want, and you'll still get the same thing for a simple smile. Appreciate how simple it is.

Or well, there is no problem in watching the anime again. Enjoy it!

DO NOT WATCH THIS IF YOU:

-Don't like Gender Bender, Cross-Dressing or Trans works
-Don't like satire about sexuality and gender
-Are sensitive to fanservice and find it in all its forms disgusting
-Are a NEET who has been living under the tutelage of your younger sister for 2 years and does not wish to be represented on this show
-An idiot who doesn't get jokes

This is WRONG, absolutely WRONG. But in a discreet and provocative way, firstly uncomfortably funny and later cutely funny, but it's a story about getting another chance at life.

Okay, so the story is that after two years of living a hikikomori life, Mahiro Oyama, an ... eroge-loving NEET, wakes up one day as a girl. All this coming from a drug made by her younger sister, Mihari, through an unethical experiment. Without his consent, Mahiro is now forced out of his bubble to live a new opportunity as a girl, act like a girl, dress like a girl… yes, anyone reading this will immediately notice something wrong going on there and I don't blame you if you find it repugnant at first, but sometimes one shouldn't judge a book by its cover, and trying to explore something out of the ordinary can bring unexpected results.

Onimai is basically told as a Slice of Life, but with a bit of unreality and humor as the character's sexuality takes a major role in the development of the show. However, don't expect a serious and in-depth story from this, but rather a whole range of jokes and problems that Mahiro is going to have with his own self, be it from having to hide his masculine past in front of his friends to dealing with his menstruation periods. All these types of jokes can offend many who go to see this show. Fortunately I'm not one of those and I like when humor has its mischievous tone.

The animation is its star point of the show, with the details and settings too vivid. Similarly, the rather colorful environment and flashy/moe character design is an appealing point for an audience that has been following Studios Bind's Mushoku Tensei for some time, even though Onimai is only his second work to adapt. The creative freedom taken by the production means that the program also bothers to make cultural references, especially video games, at certain points in the episodes. There's even some Titanic and Space Odyssey parody, plus a mahou shoujo transformation sequence, not entirely new to any parody, but quite elaborate - ironically its director, Shingo Fujii, had been a part of working on the Precure franchise before.

Marika Kouno (Mahiro) and Kaori Ishihara (Mihari) return to reprise their leading roles, now in the TV version of Onimai. They had previously provided their voices for the Drama CD, released years ago. They both manage to capture the sisterly dynamic, especially Mahiro whose lazy and childish nature comes off quite well. Although the casting cannot be generalized as one of the most memorable, they fulfill their role in giving all the characters cuteness and personality.

Both the opening and the ending are quite good, a standard electronic J-pop music style. But what really catches the eye is its video sequence that generally places too much emphasis on Mahiro's cute appearance; especially the OP, which is a fanservice fest, where at the beginning they show us some shots of her dressed in a sports uniform and school bathing suit - all this to give the viewer an uncomfortable but funny feeling that the person on screen was previously a boy. Or that comic “symbolism” where Mihari directs Mahiro on a banana boat to the Moon where a couple (one of them with a female figure) of rabbits make mochi. The ED, on the other hand, is a little more relaxed except that Mahiro is dressed in a bunny outfit and performs an improvised choreography inside her house with the rest of her friends, while the animation style is quite smooth and different from the rest; with a resemblance to the manga design.

And speaking of fan service...

As a reader of the manga, this draws attention to the great difference between the adaptation and the original material, with the character design being one of his main points, adding more color like Mihari's purple bangs. However, the most notable change is that of Kaede who receives a "buff" on her physical appearance, appearing to be much more gyaru and sexy than she is in the moeism of the manga. To all this, it is likely that manga readers feel that the anime places a lot of emphasis on fanservice - like Kaede's breasts, for example - but this is because the show seeks to extend some holes that in the manga it is reduced to dialogues and scenes quite short. Fortunately, unless you're allergic to a second of Mahiro in a cat suit, this mostly fades into the background and doesn't deviate from the original manga material.

It is from there when the Oyama brothers begin to fulfill their role as protagonists of the comedy.

All subsequent situations to the first episode give a different impression to the viewer that what is shown at the beginning is not as one might think. A bait to generate moral controversy. What at first is an unwanted forcing begins to show the results of Onee-chan's experiment. Although superficially, Mahiro begins to carry out certain activities that he did not do in his previous life as a boy, and if you take the premise with a certain amount of humor, you will be able to enjoy Onii-chan's evolution with joy.

The rest of the characters, although they have a minor appearance than the Oyama sisters, are there to usher Mahiro into his new life. You've got onee-san Kaede, her tomboyish younger sister Momiji, yuri's shipper Miyo, and her spirited best friend Asahi. You also have Nemu, the class sleepy girl who makes certain appearances to a lesser extent. It's not the first anime where you've seen these character archetypes, and the show makes good use of the characters in every juicy situation with Mahiro, especially when her pacing is relaxed and doesn't rush to introduce all the characters in a combo.

Perhaps the biggest problem that Onimai has, especially if you are a manga reader, are the risks taken by the production to adapt its content to the screen: from aesthetic changes to the characters to slightly rearranging the chronology of events. Likewise, those familiar with the manga will notice how the anime takes a slightly different tack by using fanservice to engage the viewer. But am I honest? This seems really entertaining to me. The few seconds where you see Mahiro being teased with her physical appearance or Kaede and Miyo's breasts are nothing compared to the rest of the content where the girls go out to have fun or share moments of school life - And more when this series is not oriented to being an ecchi, although I guarantee that someone who considers themselves a fan of it will enjoy it.

Also, with this tendency to adapt works related to gender change (Fabiniku, Kendeshi, Reborn to Master the Blade, Ayakashi Triangle, etc.), Onimai is another one on the list for an audience that is looking for something even slightly different from the normal thing. You shouldn't feel guilty about enjoying every bit of the show, because the least you'll see is over-the-top fanservice. Yes, you will see Mahiro and other characters taking a bath, or showing Kaede and Miyo's breasts (one episode is literally titled "Mahiro Ponders Boobs and Identity"), but it works to push a more rebellious humor than usual from a moe comedy.

Yet what really makes Onimai soar and take off is the production value and creativity. Despite not being the best comedy that exists, works like these show how important artists are in the media, who can write, draw and give life to the characters as they see fit. Some may have a different impression of Onimai, but if it had a standard generic CGDCT animation and design, and not an "unnecessarily" sakuga style of colors, it would at best be a disappointment and fade into utter irrelevance - Especially in the West where we tend to forget that a good part of these anime are aimed at the Japanese market.

So what would you do if you changed your sex overnight? Would you change your lifestyle? Would you stop doing the same activities? Or would things be as usual? What would be your decision?

For Mahiro Oyama, all of these and more, he had to answer in this brilliant, provocative, and cute show like Onimai.

I have to admit that all kinds of stories related to the two First World Wars and their subsequent Cold War I enjoy like eating bread and butter, and it is not surprising that all kinds of media related to one of the most well-known eras of the modern history that presents what it was like in those times of war, espionage, authoritarian governments, conspiracies among themselves and a high international tension that sought to avoid a nuclear war as much as possible.

In the Japanese medium, although it's not frequented or there are not many well-known titles for the newer public, there are programs that ... are inspired by said historical events such as 86, Youjo Senki, Irina: The Vampire Cosmonaut; in addition to franchises such as Girls & Panzer, Azur Lane and Kantai Collection.

And in this case, what is the new novelty? A 9-year-old communist girl!

With story by Kouta Matsuda and art by Monchika, it tells Myao Chobirov who, at 9 years old, is the new general and leader of the Socialist Republic of Coldona, after the death of her father Jo Chobirov. Her immaturity and innocence will make her have to deal at a young age with all kinds of situations that she must occupy as Head of State of the nation, with unexpected results for her high command-especially with her two right hands of her Nguyen and Khan.

Oh, Our General Myao is mostly an episodic series, where the only plot is to see Myao get into trouble due to his lack of experience managing an entire country. After all, she's a girl under 10 years old, and not a 40-year-old politician, who watches over the prosperity of an entire nation. Those more familiar with current political satire will likely find a comedy about Soviet communism old-fashioned. On the other hand, those who are very interested in the subject will enjoy certain jokes that the main character manages to make work due to the unexpected solutions that she comes up with for each urgent issue that must be addressed in a nation: Economy, International Relations, Domestic Policy, culture etc.

The manga manages to make good use of the common stereotypes associated with communist authoritarianism along with Myao's cuteness and unpredictability, as she is always a headache for Nguyen and Khan, her two right-hand men. In return, the two of them seek to advise Myao with the adult experience they have, with Nguyen being the one who acts as a strict and loving father to her while Khan... well, is purged to do the worst tasks that the human being can do. You would never imagine: like mowing the lawn or washing the bathrooms.

And here where perhaps some may not feel interested.

The manga itself has no real story except for the main character dealing with the problems of an adult politician at a young age. The context of the crisis, the shortage and the past of Coldonia are mentioned as an environmental prop, but it's not the focus of the manga to present a more in-depth story about this. This is why the viewer when reading manga, who in principle would do it for comedy since this is what sells, might think that they would take more interest in how a child matures and grows leading a nation in extreme poverty to a much different way. Unfortunately, Myao doesn't pose a slightly darker military story like 86 or Youjo Senki.

The positive side is that there's a very slow evolution of Myao's character as a leader thanks to the upbringing she receives from her two right hands, and also best friends, Nguyen and Khan whose mission is to make her a better leader, even better than the tyrannical that it was his father. However, don't expect the manga to take a more mature course with this as it doesn't seek to tell a story, but rather to entertain. Still, I admit that those little moments seemed to me the best of the manga.

And why do I recommend reading this? Because I like stories with a military theme, together with an absurd, moe and happy comedy formula, it will be worth laughing for a while at the cheerful Myao and the times that Khan purges in each chapter, all this to seek a more peaceful world. A pity that there are only 48 chapters, but even more so when you can take a day to read a chapter before making dinner or going to work.

With so many tensions in the world, sometimes it's nice to relax and have a laugh with something.

If I wanted to mention a favorite fact about music, it would be that no matter what generation we belong to, we all like to listen and feel any type of song that comes to mind. And for those who are introduced to music, the idea has always come to them that one day “I will be like my favorite artist”. However, entering this industry requires talent, dedication (a bit of personal image), but the most important thing is to define your own style.

Welcome, I present Ya Boy Kongming! (Paripi Koumei).

Originally published on a Kodansha website, it would go on to be serialized in Weekly ... Young Magazine two years later. The story takes us to Zhuge Liang, better known as Kongming Zhuge, a real-life Chinese military strategist who is reincarnated in modern Japan after passing away due to his age. His new life in "hell" takes him to the BB Lounge club where he meets Tsukimi Eiko (Stage name: EIKO), a newly started musical artist with whom Kongming eventually becomes the new manager... Ahem... tactician.

In principle, it's a somewhat bizarre premise by inserting real historical elements about China with a story about the musical growth of a Japanese artist, and it's also valid to point out some inconsistencies between the real Kongming and that of Paripi Koumei - As far as to his knowledge of history and the stratagems he uses throughout the series - for those familiar with Chinese history. And with the character, I mean that we are talking about a quite charismatic and curious character like Kongming. If something stands out in the anime, it's his persuasive personality and wisdom, qualities that allow him to convince his close contacts to devise his best plans and stratagems, and execute them at the moment when anyone has lost hope (Because perhaps his only flaw is that leave things to the last minute)

As for Eiko, she is an energetic and active girl who is passionate about her work, she strives to become like those professional singers full of followers and money in their pockets. Her meeting with Kongming happened under the strangest circumstances for her, and at first she was not going to believe that she was the incarnation of a real character, but that she becomes a companion and friend as the program progresses, in addition to being her motivation for being Kongming. his first fan of his music. Other characters appear and are part of Eiko's dream of being on the big stages: among them Owner Kobayashi, owner of BB Lounge and passionate about the history of the Three Kingdoms; Kabe Taijin, a freestyle rapper; Nanami Kuon, a street singer. Other characters also appear and join the cast which gives the show some interesting chemistry.

PA Works features mostly colorful animation with somewhat good character designs. The details to Kongming's costume (and the derivatives he gets in each episode) are interesting to see. However, something that stands out is the stages where Eiko steps on and sings to the public.

As a musician, something I like about this music anime is that it has music. There is a variety of songs that are presented at times of the show, from electronic music, synth-pop, through rock to rap and acoustic. So much so that at times the show goes to the trouble of giving a bit of music theory, which is nice to know because it makes the anime feel like it knows what stage it's standing on. However, if we can highlight this, it's simply its OP and ED.

OP is ‘Ciki Ciki Bam Bam’ performed by QUEENDOM, a eurobeat remix song of another eurobeat of the same name performed by Hungarian artist Bulikirály. This song introduces us to a catchy atmosphere with Kongming and Eiko mainly dancing and driving a fancy red car on the stages and main streets of Shibuya, as well as being accompanied by the rest of the cast and some other secondary characters. The ED, on the other hand, is a J-Pop song starring the BB Lounge club. As the episodes go by, you will see that more characters are integrated to accompany Eiko in the voices and a rap section. At first it may seem that this degrades the quality of the song a bit when it is only sung by Eiko - Especially towards Kabe Taijin's Rap - But personally it doesn't pose a general problem to the rest of the show.

One additional piece of information I want to mention is that the anime has some references to real artists. My favorite of them is episode 8 when Eiko falls asleep in the hot springs and dreams of walking horizontally on a hill, a clear tribute to Avicii and his single "Levels" whose music video contains a similar scene.

Some fans may wonder ‘But how can something like '36 Stratagems' work in the music industry?’ The logic behind the show, however, is that Kongming's decisions apply to managerial decisions about marketing and publicity. As a consequence, the viewer unexpectedly sees how his stratagems come to work and give results to the artist EIKO, who is also stunned to see that a “stranger in a Chinese suit” can also become an excellent manager. The character's eccentricity is so clear that we'll even see things like Kongming sending out pudding and tickets so Eiko can curry favor with a popular DJ.

His personality makes the viewer find the atmosphere of the show pleasant, I mean, who would have thought that a character from Imperial China would be someone so cool and friendly to a very modern audience? This, however, leads to a problem in the middle of the show as we will see fewer Kongming appearances within the show as it progresses. Some may argue that this has slowed down by focusing mostly on supporting characters when the show has only 13 episodes to cover their stories. It's fair to say that "Carry of the show" Kongming's lack of creep in midway through the show makes the show a bit slower than usual. However, one argument in favor of this is that Kongming, in addition to being the cool guy on the show, also takes on a mentoring role for Eiko and the supporting characters. That is why we see moments in which Kongming shows his audience his experiences and anecdotes from when he was a strategist; As a consequence of this, the program encourages the viewer to become more interested in the history of the artists, their past and their dreams, and the eventual meeting with the strategist that leads them to move forward.

Overall, Ya Boy Kongming! is an anime that stands out for its passion for musical artists, their industry and the hope of living the same moment that our favorite artists once managed to achieve, with a character that fans will love for their intelligence, and a set of songs ready to be danced at the disco. If you like history and music, then don't be afraid to enter the club, talk a little about the Three Kingdoms and compose the best songs with the best club in the show.

In every season there is always that weird show whose synopsis can make a lot of people disgusted or bothered by one or two things and although a show like Fantasy Bishoujo Juniku Ojisan to (Life with an Ordinary Guy Who Reincarnated into a Total Fantasy Knockout or abbreviated Fabiniku) is like one more isekai on the list, the “gender bender” element scares a lot of creatures who… don't even know what this is about. However, to point this out is to miss out on things that a comedy like this unexpectedly offers the viewer.

Created by a married couple made up of wife Yuu ... Tsurusaki and husband Chibimaru, this romantic comedy tells us about a man and a man who used to be a man: Both are teleported to a fantasy world thanks to the "blessing" of the Goddess of Love ; Jinguuji, a handsome but proud man is given a power buff while his normal friend, Tachibana, is turned into… a young blonde girl. To make matters worse, this half-naked goddess places a curse on them that the two of them will be romantically attracted to until they defeat the Demon King.

Fantasy Bishoujo is not the first existing anime where a character is transferred to another world with a change in their sex. - and that has been adapted - As isekai we can talk about cases like Kenja no Deshi wo Nanoru Kenja and Youjo Senki. Everything that makes up this anime is nothing more or less than the familiar tropes and gags of a normal isekai: mmorpg system, magic, experience, superpowers, etc., which, however, goes in a different direction than one normally assumes in this genre. This is also added with a story element that not even the writers themselves took the seriousness of doing since here and there the entire program is made up of a world, let's say, strange and chaotic; from the way in which the Gods and Legendary Creatures of this world are portrayed to the attitude of the secondary characters and villagers (Especially those who venerate the Goddess of Love and Beauty).

With animation by OLM, this program cannot be visually compared to one like Odd Taxi or Komi-san Can't Communicate (Both studio productions), but it maintains the graphic quality per se despite how 'generic' it may look. Character designs remain similar to those of the manga and although there are some modifications (such as Tilolilo Lilili's clothing) in general this adaptation doesn't affect the most important elements of Fabiniku. There are some narrative omissions compared to what is presented, but these omissions are nothing more than a few more or not so important scenes for the context they want to present. Writers manage to efficiently “cut” and “paste” the show's dialogue and keep the jokes intact without altering everything that is intended to be presented.

We have an OP “Akatsuki no Salaryaman” by Yoshiki, a decent pop-rock song that isn't bad it's not that brilliant due to its low audio quality. However, the video sequence perfectly describes what the program came to do with the viewer. If you found some screaming faces, explosions, Tachibana's cute face, and Kirito hanging around funny, then you can already get an idea of what happens in the rest of the show. On the other hand, his ED “FA"NTASY to!” is more of a very catchy J-Pop song whose video introduces us to Tachibana as the protagonist of this sequence, dancing, thinking and questioning herself about her relationship with Jinguuji.

As a manga reader something I didn't expect from Fantasy Bishoujo is that it was as funny as I could remember! And even less did I expect that this comedy manga would also be entrusted with a decent budget than one expects in these types of adaptations; starting with the casting of well-known actors and others that have been taking shape for years: starting with Mao (Pecorina from Princess Connect! and Iris from Fire Force) and Satoshi (Ainz from Overlord and Saito from Zero no Tsukaima) in the voices of Tachibana and Jinguuji respectively. The chemistry between these two works and makes the jokes come naturally. We can also talk about Junichi Suwabe as Shen who I admit I didn't expect him to play the role of this mysterious villager, as well as Rie Kugimya in the voice of the Goddess of Love and Beauty and Eri Kitamura as Lucious, etc. Overall, everyone manages to do a decent and confident job of the character assigned to them.

However, not everything is jokes and laughter because the program also at a certain point adds specific flashbacks from the past of the two heroes, presenting a preview of how their friendship has been before so that the viewer has an indication of how deep the friendship is. Is likely that many expected more background to this or feel concern that this could "kill the character", but since the intention of the program is to make us laugh, this remains as a secondary element without any problem.

But, the most remarkable point is its characters: with the pair of best friends as the center of the plot, they will be accompanied by other secondary characters that the series doesn't throw away and discard when it feels like it. As a consequence, much of the potential of each of them is taken advantage of and they complement the chemistry of the program very well; Better yet, it's that it's not satisfied with appearing in a mini-arc either and it's common for them to have a series of cameos or return to prominence at certain points in the program after their first appearance. An example of these is Schwartz, the Kirito archetype, whose dialogues and actions are a clear satire to all the typical protagonists who look "cold" and can use swords; or Tilolilo Lilili, an elf proud of her beauty who is jealous of Tachibana...

On the other hand, as I said at the beginning, many may have some guesses with a program that sells you the premise of a "man turned woman" and it's understandable how uncomfortable it can be for a fan who has little adapted to this type of contents. However, Fantasy Bishoujo is a seriously funny series that offers its audience a lot of smiles everywhere and a 180-degree turn to what we normally understand of a conventional isekai, similar to what another comedy like Konosuba does.

If you liked the show, I recommend you continue on the manga.