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When Mari Okada was in elementary school, she thought Aristotle(アリストテレス - Arisutoteresu - Aristotelēs) was two people(アリス と テレス - Arisu to Teresu - Alice and Therese), so if you understand this, you can stop searching for "these two characters" in the movie.

In a world where time stopped flowing and life is replaced by a constant numbness. The Immutables tried to find the feeling of being alive - even if it's pain - under this dome and look for a way to escape, while the visitor found love in this numbness and decided to stay. Every time Okada can create a theme that deeply attracts ... me and makes me enter her story resolutely - until I discovered once again that this subject was not what she was paying attention to.

The positive viewing experience piled up due to the immersion in the world in the first half falls apart in the second half: The pace of the narrative is kinda out of control; The supporting cast is distracting because they don't get enough detail up front; As for the protagonist’s behavior, I can only say that it conforms to the logic of the story setting.

I don’t think a sentimental story about youth conflicts with the larger worldview, but I don't think using a thought-provoking grand background just to package a "seemingly twisted" youth story is a good idea either. Mari Okada made a good start, but didn’t go deep, and that's why I love but also hate her work.

If you haven't figured out how you feel about this movie yet, congratulations and welcome to the Victim Alliance of Mari Okada :D

Compared with the actual war, the story background of the Cold War lacks a strong story driving force, but at the same time, it does not have a sense of stability in the peaceful era.

If you want to move the story forward, the few feasible elements are "time," but if you let go of time, the various problems this "family" will face will subvert all the previous comedic tone.

So, when I watch Spy x Family, although I can feel that this is supposed to be a sitcom, I also think the story is in a "fossilized" situation: It can neither drive the story forward ... nor live in peace and stability. Any change to that state could crumble people's viewing experience.

But that's alright; if you want to tell a light-hearted comedy story, keep telling it without trying to make it serious.

In other words, when the Spy x Family story tries to offer some serious stuff, the audiences need to start getting cautious.

I understand this is an anime series adapted from a gacha game. However, even leaving aside questions like "What is a horse girl" and "Why do they have an idol performance after a race," this show's viewing experience is still confusing and fragmented.

The beginning of the story introduces Special Week, a country horse girl who wants to become "No. 1 in Japan", which to some extent implies to the audience that this is a typical Shounen story;

However, even if the audience has watched the entire season, "becoming number one in Japan" is still an abstract concept: how to be number one in Japan? What ... awards do you need to win? Are there any national-level events? On the other hand, the growth of Special Week has not been specifically portrayed, only the two states of being happy after winning the game and feeling uncomfortable after losing the game.

Of course, this may also be my preconceived idea; this is not necessarily a classic Shounen story.

The beginning of the story introduces Special Week's future roommate Silence Suzuka, another trendy horse girl, which to some extent hints to the audience that this is a story about "bonds";

However, after a whole season, the writers don't give the two characters any impressive interactions, whether as friends, colleagues or rivals.

Of course, this may also be my preconceived idea; it doesn't have to be a story about bonds between characters.

The beginning of the story introduces Mr. Trainer; at his invitation, Jack joined the team Spica, which to some extent implies to the audience that this is a story about team cohesion;

However, I found that the trainer did not act as a mentor to the horse girls in the story as I expected. His role may represent the player's identity in the game, but it could be more valid. On the other hand, the interaction of the characters in the team is only superficial. More than simple slices of life and exchanges aimed at a comedy atmosphere are needed to support the team to become the story's core. Moreover, our horse girls have to fight alone in every game.

Of course, this may also be my preconceived idea...

The setting of the background applies to the Water Margin, which also adds some spoof to the story. Moreover, there is a lot of investment in animation production. Therefore, it should be a relatively sophisticated work in the 90s.

However, one thing that stings me is that the title is suspected of fraud. Under the guarantee that each episode lasts at least forty minutes, it does not make people feel that the whole story has any intuitive connection with the giant robot. Tbh, even removing the hero and his robot doesn't seem to affect the story much, because they are not the center of the story. ... After realizing these things, this well-made anime started to frustrate me.

Of course, I am very interested in Yokoyama Mitsuteru, the author of this series, but I can't deny that GR is a bad start to getting to know him.

After three seasons, my viewing experience has shown a downward trend, as I expected.

As someone who watched a lot of Ultraman in my childhood, this series is a weird (but official) fan-fiction. One side is the déjà vu of commercial superhero films, and the other is the content appropriation (Seasoning with Realistic Colors) of the first three episodes of Mebius. Regrettably, just like the previous two seasons, even the script of the final season is still helpless. This is because many topics can be explored in depth but stay on the surface.

When the final season's story begins, the audience will find a complex problem: the ... first two seasons have provided no or even the slightest contribution to the protagonist's growth. Regardless of how the main character's development ends, the incongruity feels like making a Superman solo after the two Justice League movies, and the problem that arises is: the characters have not accumulated many deep bonds in the first two seasons. Even the main characters are only being developed in the final season, so it's no surprise that the rest of the characters won't be given much attention.

The rest is the story. Not only did the final season fail to tell a deeply rooted story, but there were also many logical omissions in the script. Many of the characters that could serve as storylines don't have enough space to complete the whole framework, and some "oh, I seem to remember they mentioned it in the first two seasons" plots are not very effective in the first two seasons. The lack of details and foreshadowing also makes the climax of the story lack tension, and the result is still superficial, like "maybe you are right, but I am the one who wins."

In short, if you were ever an Ultraman fan, I recommend you to watch the old Ultraman series; if you are a Tokusatsu fan, I urge you to watch some real Tokusatsu series; if you are a fan of Kenji Kamiyama, I recommend you to watch his works in the early years; if you are...which group of people are we left here? Netflix fans?

Isekai.

Thanks to Michiko Yokote for weaving the fragments of the manga into stories, but the rhythm of each episode gives me a tired feeling. The director may be the shortcoming of this project.

On the other hand, it's a little unfair to a comedy manga originally serialized on Pixiv, but its story lacks more consideration.

What I am more curious about is that the 12 episodes did not discuss what Oyama was like before becoming Mahiro (don't tell me he is NEET, NEET is not such a simple setting). We don't know the specifics of him and his sister Mihari. What is the relationship like? Maybe ... their relationship is perfect. Otherwise, Mihari would not let him —— let her go to school to play with other junior high school girls easily.

The lack of Mahiro's character component led the audience to think, "Oh, Mahiro is a girl" in most cases and caused the last episode's core plot to lose its due weight. These points make the whole series fast food for ped —— viewers who like anime little girls. But, of course, it's not a bad thing tho.

I am more concerned about the content of the first episode that is extra in the TV version.

On the bright side, the first episode didn't go straight into Tanjiro's point of view to get on the train like the theatrical version but instead chose to spend some time introducing our Flame Hashira, which allowed for a richer presentation of the character. And this is the missing part of the movie version.

However, the embarrassment is also here. The second episode is the beginning of the movie version. So although Tanjiro and his party are unfamiliar with Kyojuro, the audience, his ability, character and behaviour are introduced ... twice in two episodes. And the memory part also has a little sense of fragmentation.

But compared with the theatrical version, my tangles have been alleviated, and it would be better if the story were not viewed as a "whole." I guess that's why I find this version more acceptable to me.

I feel increasing that the "Gekijō-ban/Theater Version" of this kind of popular anime series and the "animated movie" in our inherent concept has been divided into two things.

First, theatrical release ensures that Ufotable will present a more exquisite painting quality and special effects that they are good at. However, this makes Mugen Train Arc look more like an upgraded TV show than a movie.

Because this arc is part of the central axis of the Demon Slayer story, even if the story is not so difficult to understand, the entry of the characters in the last half hour and the shift of the main ... character's center of gravity will make people feel abrupt. A two-hour "movie" will make this more apparent.

- The protagonist has a cheerful personality, is kind to others, and whose lines seem to overflow.

- The experience of the protagonist's sister shaped the way he sees the demon.

- But also, because of what happened to his sister, they will be treated differently by some people with different values.

- Of course, there will be a lot of content to tell ghost stories for the audience in the future.

These are what I thought when I watched the first episode, I didn't see anything unexpected after watching the first season because Shonen's excellence has a limit, lol.

Compared with manga, one episode roughly corresponds to two chapters, ... so the story's rhythm is procrastination visible to the naked eye. However, if the production is more compact, it is enough to finish the Mugen Train Arc in 26 chapters. So this season feels like an incomplete game waiting for DLC.

The reason why I started watching this anime is very simple: I was playing Fate Grand Order at the time, so these historical characters with special abilities (or these metahumans with the names of historical characters) have an inexplicable attraction to me.

I will admit that most of Bungo Stray Dogs' appeal is provided by its interesting characters. But as an animation that has ended the fourth season, I can't deny that it is difficult to maintain the freshness of this series with only interesting characters.

Beginning with season 2, we'll see a flashback story to kick off each season, and a main storyline to confront ... the new organization, complete with a variety of new characters whose superpowers will humble the previous ones. I don't think "being formulaic" is a problem. If this is a story about fighting with superpowers, making stronger opponents seems like a straightforward solution.

However, even though we've reached episode 50 (four seasons plus a movie) and will have season 5 (actually it's more like the second half of season 4) in July, I still don't feel I myself know more about the world of Bungo Stray Dogs. What is the origin of the power? How to judge the strength and level of abilities? Why do some people have powers and others don't? Will capable people be discriminated against and treated differently? Is no research institute curious about Dazai's abilities?

What I'm more worried about is that none of these questions accumulated through years of watching (there may be more if I think about it carefully) hasn't even been considered by the author Asakiri Kafka, because I watched several seasons of fighting villains, and even no suspense was thrown.

Akutagawa, Fitzgerald, Fyodor, now it's Decay of the Angel's turn, Atsushi's character arc and ability curve are still confusing, and Dazai is Lv.MAX as always. I believe this is also the reason why most people's perception of this series continues to decline.

Since the story is not over yet, I'm not in a hurry to draw conclusions, because thanks to BONES' wonderful animation, I will continue to watch it with a numb mind. What if it surprises me in the near future?

I hope so.