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Metallic Rouge captivates viewers with its intriguing premise, stunning visual beauty, and high-quality animation. The frequent action scenes stand out, surpassing mere visual spectacles, as its intelligent and complex narrative offers a gratifying experience for those seeking depth beyond mere adrenaline. Additionally, the scenes are detailed, consistent, and fluid, challenging the usual standards of computer graphics.

In addition to the electrifying action, Metallic Rouge delves into a variety of profound themes, from the role of machines to existential questions such as the fragility of life, eternity, and the pursuit of freedom. The protagonist, Rouge, is a singular and counterpoint figure, grappling with challenges that defy her ... own nature.

However, it is important to acknowledge that Metallic Rouge may not please all audiences. The choice of female protagonists playing typically male roles may be divisive for some viewers, as well as the Martian environment, prevalent in most episodes, which may not be as engaging for contemporary audiences, representing a saturated, antiquated, and implausible idea. Furthermore, the absence of romance, a common feature in many anime, may disappoint those expecting this element in the stories. Lastly, the presence of hints of a progressive ideology in the series may generate controversies. However, it is important to note that not always a work with this ideology is necessarily bad.

Despite some stumbles, such as occasional clichés and implausibilities in the plot, Metallic Rouge compensates with a skillfully crafted plot that hides intriguing mysteries, revealed through captivating twists. The series challenges audience expectations, keeping them in the dark as it gradually unveils the secrets of the universe it inhabits.

Ultimately, "Metallic Rouge" is an exciting and rewarding journey, recommended for anime fans who appreciate a well-crafted narrative and visually stunning animation. Despite its controversies, the series leaves a lasting impression thanks to its ability to entertain and provoke reflection with a narrative full of thrilling twists.

In most villains of this franchise, we found depth in their background stories. Although this approach wasn't a fixed rule for all anime, I felt that this season needed more of it. This it used to contributed to the complexity of the villains, making them more organic and humanized. This form of development was consistent with the protagonist's evolving vision of considering only Muzan as the true villain, contradicting the perspective of other hunters who saw all onis as malevolent, without considering the victims among them. Furthermore, it used to generate empathy or, at least, a deeper understanding of their motivations. They weren't simply one-dimensional ... villains, but characters who conveyed emotion in their victories or defeats. Although there is a very brief flashback in the last episode that tries to address this complexity, the extremely limited time didn't allow for satisfactory development.

The development of the heroes with intriguing dramas was positive, but the execution is mediocre. Although flashbacks are a valid tool, their excessive frequency in Kimetsu no Yaiba becomes tiresome, especially when inserted in the midst of the battles of the three new heroes this season. This not only disrupts the rhythm but also seems like a lack of creativity. Although this technique prolongs the battles, there is no significant connection between the flashbacks and the confrontations, except for an isolated case. It seems to be a lazy resource from the author, who did not seek more effective alternatives to develop these characters.

If one of the heroes faced the possibility of death, mutilation, it would increase the sense of consequence, drama, and suspense. However, my greatest concern was focused on the secondary characters of the blacksmith village, a concern that should not exist for supporting characters. At this stage of the franchise, the repetition of the formula has become quite evident. The premise that the protagonists would face extreme challenges, suffer a lot, but in the end, everything would turn out well for everyone.

With no real risks for the protagonists and the anime failing to establish a convincing antipathy towards the villains, how then to create an epic climax? Perhaps through suspense? However, to build suspense, it is necessary to have unresolved mysteries, and there are few of them left. Furthermore, in this season, no significant new mysteries were introduced. The situation worsens even more for the climax when the anime incorporates comedic elements or a light atmosphere in moments that should be more delicate.

Despite the criticisms, the anime is not bad. I highlighted its flaws because few mention them, but its qualities are truly exceptional. Ufotable redefines entertainment standards with its high-quality production in terms of audio and visuals. Additionally, the director managed to perform true miracles by adding several scenes that significantly enhance the original material. Overall, it is a captivating work that instills the desire to watch and continue watching.

The manga was already restrained and had little focus on fan service, but the anime significantly increased censorship, deeply committing to political correctness, which is disappointing. Furthermore, the tone of the world presented does not align with the apocalyptic atmosphere.

In a scenario where the natural order is established, certain everyday themes should be addressed without restrictions, especially in a work aimed at an adult audience, as it should be in this case. Even in the manga, there was a noticeable reluctance to explore sexual themes, although it made sense in the apocalyptic context. The creators seem to fear criticism and labeling, resulting in moments of ... excessive censorship in the anime. This is reflected in the brief moments when the work addresses such issues, marked by quick and non-explicit scenes. Compromising its integrity and making it incomplete, or in other words, neutered by political correctness.

The first ecchi moment of this season consisted of trivial images of a naked girl, which were even more censored in the anime compared to the manga. I understand specific changes in this scene, especially since it was at the beginning of the anime and to avoid shocking the audience. Additionally, these images were not crucial to the plot, and the character drawings in this part were improved compared to the manga. I approve of these initial changes, mainly because, despite showing less, it became more sensual.

The second ecchi scene features sexual foreplay, but again, there was more censorship in the anime, with changes in camera angles and less exposure of the bodies. However, the main issue was not the censorship but rather the change to a more comedic tone, while in the manga, the scene is much more sensual. Although I don't prefer the anime adaptation in this aspect, I can tolerate it because the tone didn't completely miss the mark.

As for what they did with the third ecchi scene, it's downright revolting. A simple glance was enough to realize that they didn't adapt even half of the manga frames. To make matters worse, they interspersed this scene with others completely disconnected, not even part of the context at that moment and belonging to a future manga chapter. Furthermore, the drawings were disgustingly terrible. For example, they simply erased the girl's curves, leaving her with a masculine torso, to avoid showing her breasts in the mirror's reflection. They could have at least changed the angle, but they chose to reduce the breasts to tiny ones, leaving them at belly height and still covered by an arm. In the anime, everything happened so quickly compared to the manga version that it didn't even remotely convey the emotional impact it should have had on the audience, nor the importance of this event for the plot and characters. Someone extremely sensitive or someone looking for controversy might even say they were shocked, but the truth is that the scene in the anime barely conveyed any sense of apprehension and cut out a lot of the most crucial aspect: Kiruko's reaction to the situation.

I talked a lot about the ecchi scenes, but they weren't the only ones to suffer censorship; action scenes with more violence were also affected. One of the scenes where I felt the impact of these changes the most was the boat scene. In the manga, there was a couple dating in this scene, which is not shown in the anime. This made a big difference because the death of these characters would have made the scene more impactful, increased the drama, and matched the atmosphere proposed by the work.

There are other changes that are not related to censorship but have led to misunderstandings or misguided interpretations. An example of this is the scene of Jugo's mother's death, where in the anime, it is not mentioned that the traitor's scream awakened the women. The simple absence of this phrase affects the understanding of the scene, leaving the death without adequate explanation. In the manga, Junco's father intended to flee with his son at night, but since the mother wouldn't allow him to take the child, she ended up being killed by him. A very famous YouTuber even claimed that it was the traitor who died and that Junco's father was fleeing with the woman, demonstrating how these misguided interpretations can arise due to changes in adaptation for the anime.

The only scene that this director modified, possibly deserving some praise, is the final scene of episode eight. Most of the director's work was simply copying and pasting from the manga, with the most impactful moments deeply censored and spoiled. Luckily, I don't have a Death Note, but certainly this director's name will be added to my blacklist, and I will avoid any project he is involved in.

I blame the director a lot, but the responsibility may not be entirely his. After all, the broadcasting rights for this anime were acquired by the damn Disney, and we all know how ideologically oriented that organization is. It is likely that some form of prior censorship was agreed upon, under the pretext of the market. My hope for humanity is that this disgrace called Disney is accumulating losses.

One of the few expectations I had regarding the adaptation was that it would change the tone of the world to something more apocalyptic. This wouldn't be so complicated, since there are no colors or sounds in the manga, it would just take making the right choices. If I were directing, I would certainly make some changes to the settings and plot so that the anime truly conveyed the feeling of an apocalyptic world.

The manga tackles heavy themes that could have been explored more intensely and required a stronger approach. However, what should have been an apocalyptic journey turned into a stroll through kindergarten. Unfortunately, what they've done is cut off the stick in the manga and ripped the balls off in the anime. The anime adaptation ripped out the most impactful parts of the manga, compromising an already neutered essence. It was the work itself that truly underwent a gender transition and was raped. Art needs to have poetic freedom to reflect reality, which is often cruel, tragic, and impactful.

The production is consistent and reasonable, but it's in the plot that this season stands out, maintaining a constant intrigue throughout all episodes, surpassing by far the previous seasons. Although the first season has an excellent first half and a disastrous second half, except for the last episode, and the second season presents an exciting final arc, along with some sporadic episodes or scenes, it's in the third season that the quality remains consistently high. However, the climaxes don't reach the same elevated levels as in the other seasons. Nonetheless, there are excellent character and relationship developments, along with the best hook of the work, ... concluding with something that a large part of the audience wanted and expected. An exception in the final arc is a character's haircut, something nobody wanted.

There's a persistent issue in Classroom of the Elite that affects all seasons, but it was significantly mitigated in this third season, and this merit must be acknowledged. The many changes from the original material, especially the reduction in the number of students in the classrooms, caused disorganization in certain aspects of the narrative. However, the biggest annoyance is that the cuts made didn't solve the problem of the abundance of characters. Instead, they created a new problem that compounded the previous one. Many characters only have sporadic relevance, remaining in the background most of the time. This often leads to confusion in identifying characters, swapping, or forgetting some, resulting in a less immersive experience.

Furthermore, this season continues to present adaptations that, compared to the manga, lack more detailed explanations, resulting in quick explanations or even explanation cuts. However, it's worth noting that the explanation issues are less severe than in the second season.

Some final considerations: the case of the characters Kei and Ichinose is emblematic, as despite being charismatic, they end up occupying the space that previously belonged to Horikita, which is extremely frustrating.

Watching just one or two episodes, one may not realize how monotonous it can be, especially due to the quality of the characters and their relationships. However, the problem arises when watching more episodes, as the work seems to lose its momentum and offer nothing new.

There is a lack of elements to hold the viewer's attention and encourage them to watch the next episode, making the narrative somewhat monotonous. Although it didn't bother me directly while watching, sometimes it feels like we already know everything that will happen. Although it avoids clichés, the absence of cliffhangers at the end of episodes could make a difference. ... The true cause of this problem in this work, which has its merits but is also tiring in some aspects, is not clear.

I believe it would have been a better experience if I had watched it dubbed. For this particular anime, I also recommend watching several episodes at once, which makes it less exhausting than watching weekly. It's regrettable, as it's such a beautiful work in so many ways.

The computer-generated animation, especially of the 3D monsters, stands out from the rest and is negatively surprising. The presence of rotoscoping in some parts also causes strangeness and tends to be remembered by the audience. Although high-quality animation could change this impression, the impact on the anime would be limited. This choice likely reflects a low budget, considering that the work's proposal does not demand such fluid scenes.

It's understandable to have greater tolerance with Japanese works when they address religious issues, given the poetic freedom and secular culture of Japan. However, an anime that centralizes its plot on religion and makes direct and explicit criticisms ... differs from works that only use religious elements or make non-generalized, subtle, and intelligent criticisms. This approach is exotic and delicate, sometimes slipping and becoming offensive. The anime portrays religion arrogantly, associating it with sacrifices, commerce, governance, sexual pleasure, musical expression, and an alienated family.

The great highlight of this work is the plot twists, capable of surprising and altering established concepts since the premise. The execution is coherent, natural, and stimulating. However, generic elements such as the art style, character archetypes, settings, idols, and fanservice leave much to be desired.

I read some chapters of the manga and, upon comparing it with the anime, I noticed few changes, but all for the worse. One of the scenes that bothered me the most was the one involving the character Bertrand. In the anime, they portrayed her dressed as a carnival samba dancer, which was crude, embarrassing, and incoherent. In summary, the anime suffers from unsatisfactory direction.

This is one of the best animes of the season, as there are thought-provoking mysteries, explosive action and characters with organic motivations. It is also possible to notice that there is a complexity in the motivations. This complexity is not only in the motivations of the protagonists, but also in the motivations of the villains and secondary characters. Furthermore, the plots are also well elaborated, with unexpected, controversial and reflective outcomes.

However, it is a Seinen anime, which should be more mature and well-paced. The fast pace, in which an arc is resolved in one or two episodes, forces the dialogues to be direct, less natural ... and with less maturity. Furthermore, this pace forces the completion of good characters and good plots very early. It should also be noted that, at times, it is excessively heavy, later leading to softening that is too excessive, such as those that occurred at the end of the first episode.

Regarding its central theme, the anime addresses the philosophy of objective morals. It is important to note that, in one of the first episodes of the first season, there is a long philosophical dialogue between Lelouch and Suzaku. Dialogue which highlights Machiavelli's ideas, summarized by the phrase "the ends justify the means". Therefore, the anime could not be more explicit about its themes. Understanding what he wants to talk about, to demonstrate his point as much as possible, the method he uses is the elimination of lives. Therefore, the anime makes the characters kill their people, their allies, their friends, their families, millions of people ... and even themselves. In non-literal terms, they also kill homelands, feelings and loves. Everything in the anime is philosophically justified by ends, which opens up discussions and gives more depth. The choice of this theme is also not random and out of context, since, for the world of politics, Machiavelli's book The Prince is the most used and relevant. Because of this, an anime that claims to be about politics has to talk about it, even if it is highly controversial and unusual.

This anime features fights with weapons, high-tech robotic armor, large-scale wars, elaborate and fascinating battles. However, fighting is not sustained by action alone. Conflicts involve psychological clashes with strategic solutions. Due to the theme, the protagonist's actions suffer from a certain limitation. It can be assumed that he will renounce something and that someone will die, due to his heightened pragmatic amorality. However, events are not predictable: exactly what, when, and why. It is important to emphasize that this protagonist is not a character who stands out in everything, who always wins and never makes mistakes. Given that his plans are not always successful, this makes the character humanized, creating verisimilitude. There are several moments in which the character is surprised, needs to improvise, loses everything, goes into despair, betrays and is betrayed. Furthermore, even though amorality is not a recurring theme in animes, the merit is not in always being something completely unpredictable for the public, but in the characters' sagacity, intelligence and Machiavellianism against rivals.

The main negative criticisms of this anime focus on the twists, especially due to the deaths that are subsequently not confirmed. Of course, this is a plot element that enriches any story, but it is not immune to criticism, especially when used excessively. On the other hand, this anime offers a way to compensate for these false casualties, presenting numerous deaths that actually occur and are highly impactful. Furthermore, by awakening these doubts, expectations are generated about some situations, leaving unknowns, making people think and create countless theories. What is pointed out by some as a defect in the story, in some moments of it ends up being its biggest success.

Furthermore, there are negative reviews regarding the twists because they are supposedly amazing. Is it really harmful to have complex and extraordinary twists? What is the impediment to something being plausible in fiction? Only history itself can be an impediment and, in this case, there are no internal contradictions. As for being amazing in the sense of being increasingly grandiose, scale by scale, every anime scales, otherwise the public loses interest. So the question about comebacks is not whether they are amazing.

In terms of image, the animation is quite fluid and well detailed, above average, but does not reach the level of UIfotable or Makoto Shinkai. Even today, the details of the giant robots are impressive, especially in the constant fluid action scenes. In relation more specifically to the art, it is from the giant CLAMP, made with a certain originality. The art denotes its innovation when compared to that of other robot and military animes, which have more square features. Furthermore, the anime needed features that exposed softness, to compose a proposal for a futuristic and mystical alternative reality. What's most impressive is that science fiction has the potential to make everything dated absurdly quickly, but Code Geass, due to its spectacular art work, practically doesn't age.

One of the most striking features of this anime is its soundtrack. It is not necessary to watch this anime, just listen to its music to be consumed by emotions. It is splendid how it manages to move listeners, producing feelings of both sadness and euphoria. Among the countless sensational songs, the most prominent are: Innocent Days, Stories, Continued Story and Madder Sky.

The episode openings and endings are excellent, with great emphasis on the phenomenal last episode ending. This last ending is one of the most artistic and symbolic moments of the work. In addition to having a fascinating melody, the music for this ending has lyrics that, if analyzed more carefully, reveal how much the work is involved with its theme.

Regarding the characters, several are very charismatic and manage to win over the audience almost immediately. However, the protagonist Lelouch is not notable for being naturally extremely charismatic, but rather for, despite having all the characteristics of a villain, still managing to develop charisma. The merit is even greater because Lelouch was transformed into a kind of anti-hero, just for rivaling equals, and not villains. As a rule, no one hates protagonists, and an antihero is what we are or are afraid of being. However, it is admirable how this anime manages to make the audience develop empathy and root for someone who represents not only an anti-hero, but the height of amorality. In this way, it proves to be a work of excellence in writing.

The merits of the plot in relation to its protagonist become even more evident when we analyze that Lelouch's motivations are not noble, that the methods are terrible and that the objectives are questionable. There is much more of a villain than a hero in him. It is someone who, like his father and brother, has no empathy, or has a small degree of selective empathy, which is the definition of psychopathy. The anime makes the audience have empathy for those who don't have empathy, which is fabulous. It is also quite realistic, since politics has been proven to be an environment that tends to attract psychopaths. Furthermore, I don't identify with Lelouch, I wouldn't act the way he did, I fundamentally disagree with his principles, but I cried at his fate.

Regarding the opponents, forget the word villain, since in this story there are no villains or heroes, just a protagonist and several antagonists. All the main characters in this work are antiheroes. What is most impressive about this anime is that the rivals Lelouch, Charles and Schneizel do not differ in terms of philosophy, means or objectives. Therefore, what leads us to root for one and not the other are not the differences, or logical issues, but simply because the plot is seen from Lelouch's perspective.

Although Lelouch, Charles and Schneizel have similar goals, there are nuances between them and this is one of the most splendid characteristics of the character creation work in this anime. They differ in something very profound, which is their vision based on the past, present and future. This is extraordinary, splendid, rich, because the author transcended the initial philosophical proposal, giving a depth within his characters that would be difficult for anyone to see in this philosophy. Therefore, it is not pretentious to say that this is a visionary work.

Another relevant character is Suzaku, since he is the closest we have to a hero in this anime, but he has dirty hands and is an antagonist for most of the plot. It's brilliant to take a clear almost hero and turn him into an antagonist, while making us root for a clear almost villain. This significantly increases the difficulty of writing and the merits of the script must be recognized. Furthermore, what differentiates Lelouch from Suzaku is not the visions, nor the goals, nor the methods. The two share the same philosophy. The characters only differ in their paths, which is a brilliant way to create a rival.

Regarding CC, who is the co-protagonist, despite not being the main character in the anime, she won the Anime Grand Prix, the animation Oscar, for two years in a row in the best female anime character award category. Highlight, she won competing with other characters who were the main ones in their animes. She is an enigmatic character, who despite having a lot of her past developed, enough so that we don't feel too much, ends up with many unrevealed mysteries. Another relevant point is when, due to a certain event, she becomes weakened, becoming comical and much more charismatic.

Code Geass is one of the very rare animes with a peculiar ending for its characters, something brave, and not at all convenient. Animes that follow character endings with similar paths to this are so rare that you can count on your fingers how many are like this, and even fewer are those that manage to please. It is easily possible to find one of the many videos on the internet of people watching the latest episode. Reactions range from hysterical screams to uncontrollable crying spells. The final episode is simply the best of all anime endings.

Without a doubt, with its protagonist, the final episode has the most exciting part of the anime, but it should be noted that it is not the only good part. Other characters such as Shirley, Jeremiah, Nunnally, Anya and Rolo have memorable scenes that produce strong emotions. Also noteworthy are some of these characters for easily making people change their opinion about them.

Despite all the praise it deserves, that it is certainly a masterpiece, and that in some points it is more than spectacular, it is still an anime made by imperfect beings and that contains some small imperfections. In this matter of problems, one point that needs to be mentioned is the beginning of the second season, as it has a somewhat confusing beginning that may not be very pleasing. Although it is a deliberate confusion, which is later explained, serving to have revelations that instigate, until the plot develops further and accelerates the pace.

Finally, there are several peaks that excite, the closer to the end, the more constant these peaks are and the more impossible it is to stop watching. It is also worth mentioning that it is very exciting to follow the evolution of robots, the rivalry involved in their production, as well as the look and power they present.

The anime had a very promising start in terms of romance, but also a bit strange with the introduction of a caricatured, flashy character, surrounded by unlikely things. That said, it didn't focus much on this secondary story about the Frenchwoman Muriel and at one point left this plot completely aside. Another positive point of this beginning is that it made rapid progress in overcoming the Kanetsugu problem, resolving it in a very satisfactory way. Kanetsugu had been introduced at the end of the previous season, being hated by the public, and causing damage to the experience of almost everyone who only watched the first ... season.

Generally, I have no problems with works divided into seasons, but not in this case. The anime presents significant changes in the perception of several events that were being developed in the first season, since they were not yet finalized. Some things that seemed bad in the first season turn out to be great in the second. In this aspect, Kanetsugu's arc was particularly affected, since the seasons divided him in half. In addition to this arc, the perception that the anime conveyed about Yoshino and Aki is completely changed as a result of major revelations and excellent new arcs. Therefore, it is likely that the rating for the first season would be much higher if everyone who voted had seen the entire second season before voting.

Without a doubt, it is one of the best animes of the 2023 summer season and, without a doubt, one of the best romance animes of recent years. With a difference that there was no need to overuse sexual appeals to be a captivating work. Much of this is due to the fact that in terms of the story it is always progressing a lot, presenting a great rhythm, giving closure, bringing twists and turns and various surprises. Furthermore, it is capable of awakening emotions and winning over with quality content. Finally, it is extremely gratifying to see the author's care in relation to all the elements so that they can fit together in a precise and surprising way later in the work. Although it is not an uncriticable work, it is imperative to recognize the merits of the author's excellent writing work.

After due acknowledgment and clear recommendation, it is necessary to mention some problematic points, but which do not significantly interfere with the satisfactory experience. The Frenchwoman is a character with some relevant moments, therefore, she could not be completely erased from the plot, but overall she is a character that remains a lot, giving the impression of being just a filler made by the original work. The worst thing is that even though it seems like they tried not to develop the character so much in the anime, they highlighted and developed her enough so that she shouldn't be forgotten like the plot does. They created an unnecessary dilemma, where they understood that focusing more on what is left is bad. Therefore, they chose to leave an arc without an ending, as it seemed to be the least bad. In my opinion, they should have given even less focus to this character from the beginning, as reducing her participation would not leave the impression of something unfinished.

The other point that could be improved is that, at times, the anime exaggerates too much to produce humor and not only does it not work but it ends up not having adherence to the work. In this aspect, what stands out most is the protagonist's mother, a short girl who behaves and looks like a little child.

My final recommendation is for anyone who saw the first season a long time ago to please review it before watching this second, as you will certainly see the beauty of this work more clearly.

In narrative terms, it fulfilled one of my biggest wishes, which was that the gimmicks and euphemisms would be reduced. Characteristics that are present in the first version and that are typical of its time. Well, in the past they made adaptations that seemed almost apart from the original with so many changes, in order to make the works lighter, childish, longer and very authorial by the director. Also, in this new version, they didn't do it in a way that was compressing everything at a rushed pace, as they usually do in remakes. The proof of this is that, in the first three episodes, ... they adapted close to a chapter and a half per episode, demonstrating an unhurried pace. It is also important to point out that this version is very faithful to the manga, but it is not completely faithful. Acquiring an identity of its own, with changes only in specific aspects that generally improve the source material. In this way, management demonstrated a more respectful posture following modern standards of adaptation. This alone justifies the need for this anime to exist and be watched.

Another feature that draws attention is the comic part, which was quite lame in the first version, being a trademark of the title and which has been greatly softened in the current one. Although this comic bias of the old one is good, it was never what made this work giant. Not to mention that it is a bias characteristic of an era, which is currently dated and would not be successful with the new generations. Furthermore, it would be unjustifiable to redo and follow up on something identical to what has already been done. In this way, I fully understand the motivations for the changes and I fully agree with a more sober version, as the serious tone combines much better with the premise of the work, especially in relation to the protagonist. However, it's not as serious as the tone given to the films and OVAs, which prove to be enjoyable. Therefore, it ends up having a certain originality, considering that the manga is not nearly as comical as the first anime version, but it is still much more comical than the new version.

The first adaptation visually today does not seem remarkable, but at the time it was released it was above average, so much so that it remains quite acceptable. Highlight for the action scenes, which still manage to draw more attention than in this 2023 version. With that I am not saying that, in terms of the image, the current version is bad. Because it gave a good makeover, which was necessary, in addition to improving colors, shadows and details. It's just not as exquisite to make an impression as the first version when it was released, being merely good enough to be admissible and to be partially justifiable. Some other changes may be questionable, such as the protagonist's scar being less prominent, Kenshin's face becoming more rounded and his size apparently being smaller.

A rurouni is a samurai who no longer has a master, a person who has no meaning for his existence, he is a wanderer who moves like the waves of the sea. There is depth in the characters of this anime because they are people who were part of the samurai class, which at that time portrayed in the work ceased to exist overnight with the end of the shogunate and with the return of powers to the emperor after about 700 years. All members of the samurai caste started to have no direction and entered a collective identity crisis, considering that the emperor imposed the end of feudalism in Japan. Taking a ronin who would naturally be aimless, to symbolize this dilemma of an entire class, making this plot a journey to find a new path in an era of peace, is a very right idea.

The work presents an existential journey from which it becomes rich, for doing so through contradictions. The protagonist just being a ronin would already be feared, but he is especially respected for being a shredder, for being extremely strong and also a hero who had his responsibility for the end of the previous regime. Ironically, the fact that makes him a hero is the same thing that ended his caste and the path he decided to follow for the new era is to be a pacifist. The protagonist in this journey confronts the decay of his class and faces other highly skilled samurai who seek other paths. Conflicts in which he enters defending the values and virtues of the samurai, while carrying regrets, resentments and regrets. Despite the protagonist facing other samurai, the work sells the idea of him as the last samurai. This is evident by his upholding values that few hold, and by carrying a sword when they became forbidden, making him unique. It is worth mentioning that Kenshin's sword has an inverted blade, this is important to demonstrate how powerful he is and that he prefers to hurt himself than to kill someone again.

Another factor that demonstrates that we are seeing the last samurai, at least along the ancient lines, is Kenshin's refusal to take a disciple and not wanting his supreme fighting style to be passed on to the next generation. The protagonist accepts the end, it is a message of resignation and altruism, which only finds comfort in a new beginning intoxicated by an ideal of peace. This brings up another point, that this journey does not offer a path for everyone. The answer that this work offers is the journey itself, it is individual, where each person needs to seek their own purpose in the world within an era of peace.

The dramas have always been the most striking point of this work, all in a historical context, with elements of heroism, morality and romance. Comedy stands out, but ends up being a complementary relief for a deep, reflective, poetic and sad message. Therefore, a more serious tone is more adequate to highlight such characteristics and make the plot more believable. This means that if this version stays that way and adapts to everything, it will be the definitive one and superior to the first one. In this way, it offers a good reason for those already familiar with this work to follow this new version. For those who don't know the work, I suggest that you get rid of prejudices for being a remake of an old anime, since it is being a great adaptation that is very worth watching. Moreover, the anime's growing popularity is a constant trend, being already the fifth most talked about anime of the season and it would not be surprising if it ended up as the most popular.

Finally, when you think that there was a real samurai who inspired such a character, you realize how rich this work is.