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Spy x Boring is a wasted potential where the spy and parody stuff that seemed to be the main appealing of the first few episodes completely disappears to make way for a lot of filler, awful characters and repeating the same visual gag of a that girl who is more a meme than being human. The only reason a lot of people seem to rave about this is the hints of it being a family centered anime, the nuclear family created by a spy dad, murderous wife and daughter with psychic powers which AGAIN you only seen in the first few episodes to then be ... thing mundane and irrelevant which is why I see no reason to be praising him for this all the time considering how careless the parents are and above all that this whole thing is still a farce. So if you want to see an anime that shows the family aspect better, you better go find another one like usagi drop (an original anime that is not based on anything more).

The characters seem to be another blunder as almost every are not really interesting or show anything more than a one-dimensional aspect, Loid is the only good character and seems to remember his mission, while the rest are bland or downright unpleasant. Yor is relegated from the plot and only yearning to be a good wife, Anya is just a dumb faces generator, Damian and Yuri are the worst characters in the series that it is preferable that they disappear since it only harms the supposed wholesome atmosphere that it tries to create. If it played things a little bit closer to the vest, and just a little more seriously, all the dramatic and emotional elements would be so much more effective.

Although the medium of television does not have as much history as that of literature, there is half a century watching how narrative rules are gradually forged. These rules have not been defined by any kind of random whim, they are the result of many hours of trial and error. Series that tried something new and failed, and others that succeeded in their innovation and then were plagiarized endlessly. It is normal in the creative process, originality as such is quite scarce and any work is mostly a certain combination of the infinite influences that its authors have had throughout their lives. This anime, perhaps ... more commonly known as "In Specter" is basically characterized by ignoring the normal rules of other media adaptations to anime. That is a risk, those rules, as I have said, are life insurance, something that does not guarantee quality but at least safeguards you -up to a point- from being a disaster. A work has to be very good, or be very well counted in order to progress without your support.

It's not that this series does it, it's that it does it practically facing those rules. It is as curious as it is gratifying to watch. The series is based on the absurdly crazy charisma of its protagonist, and around its endless verbiage and self-confidence it exposes a fairly solid world whose solidity does nothing but reaffirm every moment.The series places us in a Japan where ghosts, spirits, ghosts and all kinds of paranormal creatures exist; and hers is a peaceful existence that does not interfere with that of humans normally with the sole exception of Kotoko, a young woman who has become a kind of counselor and arbiter of her conflicts. But, very occasionally, this world conflicts with that of humans, and then Kotoko must also act ... dragging her boyfriend with her by force. But this is not a shonnen series with battles against specters, not at least in the most usual sense of anime, this is a series of speeches, endless explanations and expositions that extend throughout its entire length and that surprisingly work in exceedingly. Technically the series does more than enough, its animation may not be particularly remarkable, but it doesn't seem cheap either. But the series stands out in its narrative, because rarely are such strange cases found like this. An adaptation normally follows a progression in the length of its arches; in a series of 12 episodes it is normal to see a prologue, then maybe two arcs of 2 or 3 episodes and then a last arc of 4-5 as climax. Not here, we have an initial arc of 3 episodes to present the series and its world, and then all the rest of the series are 9 episodes dedicated to the same case (and in fact the first arc could even be considered a preview of this when presenting in it to Saki-san and the origin of the courtship of the protas), and during those 9 episodes the series does not stop explaining more and more things strengthening the foundations on which it had initially settled. And there is a narrative maxim of the theorists of the script that says "don't count, show it", there is no need to verbalize the actions or the thoughts, the viewer has to see what happens and not listen to it ... and this series is absolutely on the contrary, it is completely expository, and it does not seem to me that it is for bad, simply the series is a constant succession of Kotoko explaining why what happens and how he is facing it, and works surprisingly well. Everything revolves around Kotoko, and that was the only possible decision, because the girl is a gem of a character capable of coping in any situation and having chemistry with all the characters.

Many adaptations of light novels have the problem of excess text, but in this work I realize that the problem of these adaptations does not come from the inability to put everything in and rush the material, but to can't strengthen it because things like Index try be everything, but in the end does not build anything; fights, romance, drama, and multiple arches each with a different theme, the show never compromises on any of these.

A word to define my experience with this anime is to surprise me, a show that in 2019 dares to try something new and get out of a marked formula to be able to do something new and unpredictable with the genre.

However, this does not mean that the plot is intelligent or logical, it is absurd to combine a fantastic element in an environment that pretends to be serious and realistic (death note for example) ; At some point, it is completely inverosimil (not only because of the abstract nature of a certain character, but because of the global escalation seen in the second half), ... but the interesting thing about this series is not its plot but also its message, that everything is subject to an attempt to reflect on life, suicide, good, evil and other great issues. The series is extremely pretentious and fails completely at many times (in its second half it is a Jumping the Shark); However, it is refreshing to see a series that dares to enter such danger land without any complex.
At first, the series is content to ask ourselves existential questions with greater or lesser subtlety, but in its second half it dares even to try to answer them; This has always seemed to me a mistake in science fiction since I think that genre should make the viewer reflect and not try to impose answers.

However this are no longer seen in our days, as was the case in the past where new genres such as the nekketsu with dragon ball were created or revolutionary series like evangelion. Not, now everything is a typical, more of the same, the anime that stood out most last year was kimetsu simply for its production however everything else is a formula of success and sure, but for me it has much more value the bravery babylon for his premise.

As I mentioned in the review of his prequel, Railgun works better as anime, because the studio has more freedom do it, a much simple plot, continue with the same slice of life formula with isolated facts that leave clues for future events, only here we can see the true potential by adapting a much more serious plot arc such as the sisters' arc, much better executed than in Index even with better atmosphere and animation, it also works better because we can see the facts from the point of view of Mikoto being a character naturally involved in the matter for being something that ... concerns her and not only introduced because: "her good will makes her wanting to help whoever is there" anyway the best development does Touma's intrusion so much more enjoyable, anyway it would be better if it was his group of friends who would have given Misaka support because the whole series has always developed a strong friendship relationship between them and that they are now on the sidelines when Misaka really needs help is strange and a disappointment, they do it only for Touma stay with all credit.

The first season of One punchman I does not appreciated it at the time as it should, really the series wins the name as a satire of the super hero series, but above all of "nekketsu" (specific name, but you know him by "action shounen") where the battles are unnecessarily extended with all kinds of transformations, power-up and speeches so that in the end always finalized with a Punch from the protagonist, this is the point of OPM, him being able to eliminate all that process tired and boring, is direct with frenetic action while enjoying a pleasant comedy and funny with Saitama mocking the ... pride of monsters and heroes alike by defeating them in a single attack because in any case he is always the protagonist who always solves everything, demonstrating their point that nekketsu are always same rancid and repetitive. All this so that in the second season the series ends up becoming the same as try to satirize and this is not only the fault of JC staff, the author denotes that he got bored of his initial premise and decided to tell a more standard story with an arc developing events, focus on secondary characters and their more serious fights, we hardly saw Saitama and his comedy, But the real problem is not the fact that the anime is different but it is now within the same tier as the rest of the nekketsu and is judged as such, OPM just as these lack the subtlety to deal with their issues but rather they They are thrown into your face screaming at how much the characters love their friends, the problem of Garou and The Hero Association it would have been much better to show it with clues to guess where their conflict comes from, but as if it were a shounen Jump series has the same thought about the readers/viewers need to direct explanation to understand the stories and topics of the arcs there are better examples of shounen where they have a better story with subtle explanations about their issues, in this point OPM has nothing to contribute.
The worst thing is that even the arc not ended so the end lacks all impact is not even a real conclusion.

Very unlike his sister series, railgun for its part is not tied to a novel, here have been invented some characters and stories. Railgun works better as anime, because the studio has more freedom to do so, a much simpler plot that sometimes seems like a Slice of Life, but with some episodes that left clues to more important events in the story. Obviously it is not perfect has many boring episodes where nothing happens, it is a moeblob, but has the advantage of having a much better protagonist group that compensates in charisma and time where they dedicate a lot of episodes that they ... can loveling the public. If there are better examples of anime like this, but the merit of being an anime of everyday life in a science fiction scenario that feels functional still good, something that has not really been seen unless you include Aria, humility and the functional narrative of its simple plot puts it above the pretentious epic of index

I could talk about many flaws, the characters and anime plot errors, but I really do not think it shows the right point, rather I could summarize the reason why many adaptations of novels do not work, infodump a lot of infodump, an important factor in a written format is to have many details relating each element so that the reader can imagine the world and history, which in an animation does not give time and often must be omitted to get to the action part, this is the error of Index simply skip or compress a lot of explanations so that the content poured ... can not make a constant feedback or how this world is taking shape and growing constantly, but no, you just feel a succession of arcs one after another, without an end or defined goal.

While possibly somewhat fascinating at times for how godawful the writing was, it all but abandoned having any action at all in the second half and went from wallowing in the drama most of the time to wallowing in the drama all of the time. Now, that might've been okay had it actually developed its drama and characters, but the first arc was 02 being declared a monster and Hiro accepting her, the second arc was 02 being declared a monster and Hiro accepting her, and after that was padding before the writing decided to throw in a major twist every other episode, inventing and ... deleting vast fleets and armies each week… and it was all still always resolved with Hiro psychically yelling his feelings for 02. That's the only goddamned thing he ever did from start to finish. Get a goddamned Teddy Ruxpin.

The show was undercut by not being able to commit to anything. It kept rehashing Hiro/02's trash every single goddamned arc, and every time it swore for real that dire circumstances would come from whatever, be it partnering with 02, clonery, or teen pregnancy, it always found a way to either back off or straight up reset things so there weren't any consequences at all. The only dire consequences is the very end of the show with the main two sacrificing themselves to murder an entire species halfway across the galaxy that hasn't threatened humanity for literally years at that point. Someone clearly took the wrong message from Ender's Game.