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JoJo’s Bizarre Adventure, classical rock enthusiast Hirohiko Araki’s esteemed manga series, exists as one of the most revolutionary and iconic franchises of its genre, a staple for many fans in the West. After the success of the first animated adaptation, the legacy of the Joestar bloodline lives on in Stardust Crusaders, with the new face of Jotaro Kujo, preparing to confront the destiny foretold by his blood for over a century.

This review contains spoilers for the first two parts of JoJo’s Bizarre Adventure, “Phantom Blood” and “Battle Tendency”. It is highly recommended that you watch the 2012 animated adaptation of the franchise or read the ... manga before watching Stardust Crusaders.

Will you like it?

You may enjoy series title if you…
-- consider yourself a fan of the JoJo’s Bizarre Adventure franchise
-- appreciate a “party” or “group” approach in regards to character representation
-- thrive in journeys that span a variety of cultural settings
-- love catchphrases, manliness, and general badassery

You may not enjoy series title if you…
-- find yourself not as invested in the new art of “Stands” as compared to Hamon
-- can’t keep up with series that progress at a rapid pace

Story

Stardust Crusaders encompasses the third part of the Hirohiko Araki’s JoJo’s Bizarre Adventure manga series. This particular section is split into two parts, and for the sake of this review, any mention of Stardust Crusaders will refer to the first season or twenty-four episodes of the adaptation.

Many years have passed since the defeat of Kars, and Joseph Joestar has grown old. His daughter, Holly, moved to Japan and had a son of her own named Jotaro, a strapping young man as tall and brawny as any Joestar before him. One day, Joseph is called to Japan as his grandson Jotaro believes himself to be possessed by an evil spirit and has himself incarcerated to keep from hurting others. The old man knows of this spirit, and upon his arrival, he informs his grandson that the ethereal force is known as a “Stand”, a projection of one’s fighting spirit with a variety of combative features. Their origin spawns from the return of a familiar foe to the Joestar line, Dio Brando, and Joseph requests his grandson’s help in defeating him. Though Jotaro initially declines, a Stand begins to develop within and begin consuming Holly, spurring the young student into action. With their goal set, the two Joestars, accompanied by three comrades with Stands of their own, set off for Egypt to confront their fated enemy in Dio, hoping to put an end to his malicious actions once and for all.

I think of the series as divided into two parts: the prologue (episodes 1-5; the introduction of the characters) and the quest (episodes 6-24; the events after the completion of the group). An episode within the quest sub-arc generally involves the crew travelling to a new locale and encountering one of Dio’s conscripted Stand users, most of which are defeated in a single episode (with a couple, more intricate scenarios taking up two parts). As a result, Stardust Crusaders progresses at a fast pace, with there seemingly being no time for the characters to rest, which is truly fitting for the story all things considered. At times, however, you can feel underwhelmed by how formulaic some episodes appear to be, since almost each one involves X enemy Stand user being defeated by A/B/C/D/E main character. With that in mind, I did find a majority of the foes interesting, with the tarot-based identities fascinating, and the character interactions taking place in-between combat really wrapped everything together in a nice way.

Genre & Characteristics

Loyal to the spirit of its predecessor, Stardust Crusaders retains its manly focus on the art of combat, though in a different way than you’re used to.

The art of Hamon has been all but retired within the world of JoJo’s Bizarre Adventure in favor a spiritual technique known as “Stands”. These projections exist as mirrors of one’s life energy, each based upon a specific tarot card and being unique to their respective owner (save for Dio, who holds control over them all). They function as extensions of one’s physical form that allows them to ascend beyond their mortal limitations in a variety of ways, depending upon the nature of the Stand. In all fairness, they’re a creative way to inspire some diversity beyond the somewhat limited nature of Hamon energy, though personally it’s hard to say which field is preferable. It’s hard to ignore how less physical combat feels when you’re having your Stand do most of your fighting, even if there is a spiritual link to your physical form. It’s a polarizing change that could considerably affect how well enjoy the action in Stardust Crusaders, so it will mostly differ from person to person.

Strategy remains a vital element of the combat in JoJo’s Bizarre Adventure, and perhaps even moreso considering the unique characteristics, counters, and intricacies involved through Stand combat. I always like it when fighting is more than just a measure of brute strength, and JoJo’s Bizarre Adventure has never disappointed in this regard, with each character having to use not only their Stands but their brains in order to defeat Dio’s assassins.

In terms of actual “adventure”, Stardust Crusaders actually performs better than its predecessors. As mentioned before, Jotaro and the party visit a variety of locales that each appeared unique and interesting in their own ways, and the series focused more on the journey itself rather than the conflict at hand. Combining the dangers encountered through the various Stand users and exotic settings, it’s dishonest to say that we didn’t experience the bizarre adventure promised by the title.

Though perhaps not as important to others, I did feel a bit disappointed in how little invoked the esteemed “poses” were in this series, perhaps as a result of the Stand combat. They’re not absent by any means, but much less abundant, and as something that served as one of the most iconic designs of the franchise, poses are something that need to be prevalent.

Animation

The animation of the JoJo’s Bizarre Adventure title, no matter the specific arc, is always a special treat for any prospective viewer. The strapping male figures, creative use of coloring, visible representation of onomatopoeia, and uniquely designed stands all help contribute to the iconic image of Stardust Crusaders in droves. It does express a pretty niche aesthetic however that will gain your loyalty heavily if you enjoy it.

Sound

“Having a fantastic soundtrack” is as synonymous with JoJo’s Bizarre Adventure as the intense action, and just like the previous two parts, Stardust Crusaders exceeds well in this regard. Hirohiko Araki moves full steam ahead with his litany of classical rock puns, involving a variety of references to well-respected groups such as “Steely Dan” and “The J. Geils”.

The seiyuu do a great job with their roles as well, though no surprise really. There are even some big names involved too, such as Daisuke Ono, one of the Japanese animation industry’s voice acting greats, voicing the stoic body of Jotaro Kujo. Unshou Ishizuka takes on the great challenge of performing Joseph Joestar, and personally he does it damn well. I enjoyed his various moments of Engrish, particularly. The other main characters were voiced well too, each brimming with distinct personality and careful effort. I did find myself a bit annoyed by some of the Stand performances, but I believe that was an intentional effort by the seiyuu and not a result of poor performance.

The opening piece is great, as is befitting a series in the JoJo’s Bizarre Adventure franchise, though I think it was a noticeable downgrade from the expertly crafted sequences that were “Sono Chi no Sadame” and “Bloody Stream”. I did enjoy the references to the older JoJo’s, as well as the depictions of the party members with their stands, however. Further, much in Araki’s style, the ending piece is a well animated wrap-up played to the tune of The Bangles’ “Walk Like An Egyptian”, quite apt for the story of the series.

Characters

Unlike “Phantom Blood” or “Battle Tendency” where the main character focused solely on the particular Joestar in question, Stardust Crusaders displays a focus on five main characters in somewhat of a “party” format, with two Joestars forming the head and three comrades supporting them on their journey to defeat Dio. I honestly enjoyed each of them, with marginal differences in appreciation, and found the familiarity of having Joseph as a member of the crew invaluable. Each had their own time to shine, being the primary combatant or reason for success at different times over the course of the series. In the following few paragraphs, I’ll go over them a bit and discuss a bit in regards to the notable supporting characters.

Jotaro Kujo (Stand: Star Platinum, an Aztec-inspired projection notable for its shrewd eyesight, powerful punches, and outcries of “ORA!”) is a tough, stoic Japanese student, notable for his quick temper, no-nonsense attitude, and utterance of “やれやれ (en. Good grief). As Johnathan and Joseph represented honor and charm, respectively, Jotaro embodies that of resiliency. While at first he started off a bit dickish, much like his grandfather Joseph, Jotaro grew a bit over the course of the series as the responsibility of not only saving his mother but coming to face his fate matured the young man quite a bit. Just as his mother Holly swears on her life, Jotaro may have a rough exterior, but on the inside he’s a good man with a big heart.

Joseph Joestar (Stand: Hermit Purple, an extension of Joseph in the form of constricting brambles, also granting the ability to create psychic photographs) makes a reappearance as a much older (slightly matured) version of his former self. Still existing as my favorite of the Joestars, Joseph does well to not only guide the group but serve as the source of a great bit of the series’ comedy, whether it be through making a fool out of himself or his outbursts of some of the best Engrish found in anime. My only complaint is that his Stand is, for the most part, a complete let-down compared to the others in the group, but this is likely to set the stage for the newcomer in Jotaro to blossom.

A supporting threesome of Noriaki Kakyoin (Stand: Hierophant Green, a malleable lurker with a devastating Emerald Splash attack), Jean-Pierre Polnareff (Stand: Silver Chariot, a swift master of fencing and deception), and Mohammed Avdol (Stand: Magician’s Red, an anthropomorphic entity with a great affinity towards fire) accompany the two Joestars in their journey to defeat Dio. From the shrewd student in Kakyoin, the suave French idiot of Polnareff, to the serious voice of reason that is Avdol, each of these fine young men serve a purposeful and justified role within the group.

Dio Brando (Stand: ???) reprises his role as the series’ main antagonist, having sruvived the explosion that killed Johnathan Joestar a hundred years before. While he exists as the primary threat to Jotaro and the gang, his presence is increasingly limited until the following season, and he mostly serves as the leader from whom these assassins are sent.

A variety of malicious stand users attack the party as they travel towards Egypt, really being the only supporting characters worth note aside from Holly Kujo (Jotaro’s mother and Joseph’s daughter). A few of them were quite memorable, though not all were equally great, especially considering we only got to experience them for a single episode. They were, however, far superior to the vague, vampirical opponents of the past, and the lore of their particular Stand often proved an exploit of its own.

Conclusion

Stardust Crusaders Stands strong as a thrilling fresh start within the JoJo’s Bizarre Adventure timeline. I have to appreciate how there were enough elements of familiarity to justify the arc’s existence within the universe in addition to the new ideas and concepts brought forth to evolve the story. Jotaro and his friends definitely invested me in the story, getting me excited for another, potentially final confrontation with the Joestar line’s greatest enemy. I continue onward, confident that the subsequent arc will remedy a some of the issues plaguing this season, and highly anticipate that which is to be continued…

“Hey, jackass. Don’t try to act cool at a time like this.”
– Jotaro Kujo

I like dragons, I like cute girls, and most important of all, I like good anime. Unfortunately, these three don't always mix, that is, until I came across this gem. Miss Kobayashi's Dragon Maid spreads its wings and soars above the rest, powered by the feeling of love and making use of beautiful aesthetics, exuberant characters, and imaginative designs to present one of the most heartwarming and memorable experiences of the genre.

Will you like it?

You may enjoy Miss Kobayashi's Dragon Maid if you...
-- want something that's cute as all hell
-- love heartwarming, character-focused stories
-- enjoy tasteful, well-executed yuri relationships
-- appreciate creative, vibrant, and kinetic styles ... of animation

You may not enjoy Miss Kobayashi's Dragon Maid if you...
-- generally avoid titles in range of Slice of Life
-- take up your pitchfork at the mere presence of anything "cute", "moe" or "light-hearted"

Story

Miss Kobayashi's Dragon Maid is the animated adaptation of Cool-kyou Shinja's manga of the same name, published in the West under the Seven Seas banner. From what I've seen, the author is a cool dude with a fun imagination, and that bleeds out well into the story.

After recovering from a rough hangover, Kobayashi starts off for work and encounters what seems to be a massive dragon waiting outside her apartment. The dragon introduces herself as Tohru, claiming to have been invited over the previous night and offered to serve as Kobayashi's personal maid. The confused human initially rescinds her proposal, though seeing how much it meant to Tohru, she allows her to stay as long as the dragon promises to serve as an authentic maid. This unlikely companionship proves initially troubling for both individuals, as the otherwise reserved Kobayashi must become used to having such an energetic personality in her personal space, with the proud Tohru struggling to fit in alongside mortals she deems strikingly inferior. As time passes, more of Tohru's dragon friends arrive from their own realm, further transforming Kobayashi's otherwise quiet and mundane existence into one of excitement and fantasy.

The episodes mostly concern themselves with the adjustments both Kobayashi and the dragons (Tohru and Kanna) must make as they come to live with one another. The supporting characters come into play at various parts, generally as a result of their own subplots or to observe the main characters' changes over time. Kanna, one of the previously mentioned friends of Tohru, is the focus of many episodes, as we observe her attending a human school or making friends with a girl named Riko. Tohru's backstory is a subplot that develops a bit of tension as time goes on, with the final episode resolving much of it in a climax of a conclusion. All in all, I was impressed to see how greatly I enjoyed each episode, not once feeling dissatisfied with the events unfolding, avoiding any sort of "dead spots" Slice of Life anime often experience through the course of a season.

To enrich the story even further, a few moments of strong thematic focus rise up to give some substance to the otherwise happy-go-lucky experience. Understanding differences and limitations, the importance of communication, the ambiguity of freedom, and coming to terms with the past are a few examples of the sort of themes you'd come to expect, allowing for some genuine moments of thought to blossom forth. While I respect Slice of Life anime for generally being "feel-good", it's always great to have a certain range of depth to help promote the merit of the experience, as though there might be cute girls doing cute things, these exist for more than just show.

Genre & Characteristics

Personally, it seems like it's becoming harder and harder for "Slice of Comedy" anime to set themselves apart from each other, though I do believe Miss Kobayashi's Dragon Maid managed to achieve that goal thanks to its interesting lore and lively characters. A lot of the comedy spawns from the characters' interactions, with a few recurring gags utilized but never overused here and there. Honestly, humor is subjective, so it's really hard to say whether you'd like it or not without watching it, but I can say for sure I've had many, many moments of genuine smiles (and even laughter) from certain scenes.

Now, despite a mostly stellar execution, the anime does succumb to some common flaws that plague the contemporary edition of the Slice of Life genre. Episodic diversity suffers a bit when you again see those familiar "beach", "sports", and "holiday" episodes. I had watched a fellow Winter 2017 anime in Gabriel DropOut alongside this one, and it was disappointing to see both sharing some of the same exact episodic concepts. However, Miss Kobayashi's Dragon Maid can indeed be credited with making good use of these otherwise overused settings. For example, in regards to the aforementioned "holiday" episode, most of it focuses on an impromptu play the dragons must put on, and that play was easily one of the highlights of the series. Despite being faced with the problem of "been there, done that", the series grabbed it by the horns and showed us all that you can still find uniqueness among the conventional.

Moving on, a variety of fantasy elements serve an integral part in the story's lore (as if the "dragon maid" part wasn't obvious enough). The dragons arrived in the mortal realm from an mystical world of their own, one complete with exciting magic, alien foods, and foreign species. While the story largely focuses on the normal aspects of things and the dragons' attempts to understand such foreign things, the whimsical elements utilized here and there are quite nice to see. Hell, a few of the most humorous scenes involved Kobayashi struggling as both Tohru and Kanna go overboard with their superhuman abilities.

Considering perhaps the most important characteristic of all, the strongest feeling I think back upon in regards Miss Kobayashi's Dragon Maid is that of pure, unadulterated love, easily the best attribute of the series. There's so much of it to go around, with a great variety of relationships involving that sort of affection you crave to see over and over. I wouldn't call the show a "romance" by any means, however, rather the tenderness displayed functions more as a binding function than a plot element. The love develops naturally and legitimately, never once feeling forced or artificial in nature. I'm sure anybody who watches the series would want someone to fawn over them as sincerely as Tohru does for Kobayashi.

On a lesser note, there is a great deal of "eye candy" for the audience in Miss Kobayashi's Dragon Maid, though save for some gags associated with Lucoa, it never exists as a primary focus. Breasts and butts (and thick thighs) are all nice, and Kyoto Animation sure knows how to present them well, but for those who don't care much for anything "fanservice", don't worry (unless you have a no-tolerance policy, then I recommend passing).

Animation

It would be futile at this point in time to award anything but praise to Kyoto Animation, undoubtedly one of the Japanese animation industry's all-time greats. Both the directors and animators are rightfully revered for producing some of the most aesthetically inventive series of the last few years, and Miss Kobayashi's Dragon Maid could easily be viewed as another stellar mark in their catalog.

Miss Kobayashi's Dragon Maid makes heavy use of a "storybook" image in its artistic presentation, likely as a nod to its fantasy characteristics and otherwise imaginative foundation. Everything is full of color, often shiny, and quite vibrant in appearance. Each scene felt like a treat to my eyes as I took in the gorgeous visuals. Scenery blooms forth with a particular watercolor aesthetic, offering a unique, stylized quality that greatly enhances the artistic merit of the anime.

A few scenes in particular, such as Tohru and Kanna's friendly battle or the cast's holiday performance really stand out as exemplary works of animation, way beyond the already respectable quality of the series. Honestly, though I already view the series in high regard, you can really tell the moments when the budget was improved.

As the series is going for that bright, delightful aesthetic, the characters are aptly represented in their distinct yet familiar designs. I noticed particularly that each character (save for Fafnir) has a rounded, kind face that enforces that "cutesy" feel the anime is going for. Additionally, an overwhelming variety of expressions, both slight and exaggerated, are frequently used to present each character dynamically, allowing them to break free from the "chains" of being two-dimensional.

Sound

Miss Kobayashi's Dragon Maid possesses a marvelous, original score that offers a fresh take on your general Slice of Life soundtrack. There's something truly special about it, as each background theme gives off vibes that translate well into the comfortable feeling the series succeeds in promoting. In terms of sound effects, they exist in an appropriate amount, generally accompanying character actions. The only effect I can say I wasn't too impressed with was the dragon voices, but that's a minor element that's was only used during the rare moments Tohru was in her dragon form. Blame it on years of playing fantasy games, but I'm just too used to the gruff, abrasive dragon voices you come to expect.

In regards to the voice acting, I can't think of anything better to complement the brilliantly designed characters of the series than its talented cast of seiyuu. Each character, both main and supporting, perform their roles convincingly and with great emotion, personality, and enthusiasm.

Kanna's seiyuu in Maria Naganawa reminds me very much of Hiromi Konno (Hakase Shinonome of Nichijou), as both have proven excellent at adapting that "little girl" voice without being whiny or grating. Further, she really seemed to nail the perfect "neutral" tone, one that fits Kanna as a character well but doesn't descend into a state of monotony. I look forward to seeing her future roles, as I see a lot of promise in the young seiyuu's future.

It's worth mentioning that you're introduced to the series in quite the exciting manner. There are many things that go into a great opening, and fhána's "Aozora no Rhapsody" virtually expresses each and every one of those elements in style. As a package, it does a fantastic job at weaving a creative animation sequence and an upbeat, lyrically relevant track into one pleasant introduction. It's as if Tohru were the one performing it, too, as she remarks heavily on the unlikely relationship with this one individual (Kobayashi), and how no matter what barriers exist between them, they just feel so happy together, basically the premise of the entire series.

In regards to the ending, it's equally if not even more so pleasing. The whole concept of "Ishukan Communciation", or "interspecies communcation" echoes the thematic relevance presence in "Aozora no Rhapsody" and the series itself, yet presenting a more personal perspective as the theme is performed by the four female dragons in Tohru, Kanna, Elma, and Lucoa. Personally, it's one of my all-time favorite endings, and I'll be listening to it often as a result.

Characters

It cannot be stressed enough that Slice of Life anime live and die by the quality of their characters, and most fortunately, Miss Kobayashi's Dragon Maid passes this benchmark with flying colors. The main threesome of Tohru, Kanna, and Kobayashi work so well off each other, making use of great chemistry to present that realistic family feeling whenever you see them together. The supporting cast are relevant and delightful, though at times, they might only pop up to further a particular scene or gag. Having such a strong cast, both humanoid and draconic, working together to form the foundation of the series causes you to actually care about what's happening because you care about the characters.

In the following few paragraphs, I'll discuss the main characters in detail, with a few words to say regarding the supporting cast.

Kicking off the main characters, Tohru is a dragon from her realm's Chaos Faction, notorious for encouraging the destruction of mankind and battling with divine powers. Despite expressing a general disdain for humans, viewing them as primitive, inferior beings, she idolizes her mortal counterpart in Kobayashi with the utmost reverence. She often takes offense when compared to them, stating often (with pride) that she can destroy all of mankind if she so wished. Much of the conflict of her character stems from this insecurity, as Tohru finds it increasingly difficult to "lower herself" to that of humanity. That being said, she will do whatever it takes to make Kobayashi happy, even if that means humiliating a proud dragon such as herself. It's precisely this authentic devotion that ends up pulling tightly at your heartstrings.

Kanna Kamui, also known by her trading card name "Blue Eyes White Dragon", is perhaps one of the cutest characters ever developed in an anime. Young by even dragon standards, she was expelled from her realm for playing too many pranks on the powers that be. Because of this, she comes to live with her friend Tohru and Kobayashi in the mortal realm. Kanna is often depicted with an indifferent expression, though she retains a fascination for many things, particularly insects and food.

A touching and unexpected mother-daughter relationship grows between Kanna and Kobayashi, and the young dragon grows to develop such an affection for Kobayashi that she even assumes her surname when she becomes a student. Much like Tohru's relationship fuels the heartwarming parts, Kanna's relationship helps to supplement the adorable presentation of the series, completing the perfect familial trifecta we are privileged to experience.

Last but certainly not least of the main three, Kobayashi-san is our familiar human being, the object of Tohru's love, maternal figure towards Kanna, and best girl (hey, even Tohru agrees!) In many ways, Kobayashi is a considerably relatable character, partially the reason why I adore her so much. As is often the case for programmers, she's noticeably reserved, not really sure at how to function among individuals (be they co-workers or dragons) who are very social by nature. Change is foreign, even uncomfortable at times, and the introduction of Tohru proves quite a shock for the young woman. She generally finds it hard to express her feelings, notably towards her companion of Tohru, and sometimes tension can arise from this. Even so, Kobayashi retains a mutual appreciation for her newfound family, grateful to Tohru for bring color to her otherwise grey life.

Lucoa, Fafnir, and Elma are the supporting cast of dragons, the former two of which are Tohru's friends from their own realm. Much like Tohru and Kanna, each character has a distinct, interesting design.

Lucoa, technically an ex-goddess, noticeably defined by her mismatching eyes, enormous bust (G's for "goddess"), and risqué clothing. While she primarily serves as eye candy for the audience, Lucoa does present herself as a supportive friend of Tohru, one of the few dragons seemingly accepting of humans and more interested than anything.

Elma is from the Order Faction, rival dragons to Tohru's Chaos Faction. Though she initially comes to the human realm to retrieve Tohru, this cute water dragon ends up enjoying the mortal delicacies of our world, taking a job at Kobayashi's technical department though having no knowledge of coding whatsoever.

Fafnir, inspired by the Norse dragon of the same name, is a dark, brooding dragon, perhaps the only one of the five that detests humans more than Tohru. Despite this, and much like Elma, he finds himself addicted to another mortal creation: video games. Takiya takes in Fafnir when the latter decides to stay in the human world for awhile, and the two grow to develop a surprising friendship, as Fafnir considers the otaku "one of the good ones".

Riko Saikawa, a cheerful, proud young girl, Shouta, a skittish boy wizard, and Makoto Takiya, Kobayashi's otaku co-worker, are the supporting cast of humans, with each receiving an ample amount of screen-time but less than the dragons. They all primarily play off a particular dragon in Kanna, Lucoa, and Fafnir, respectively, helping further a few subplots and gags that help supplement the series. While not as interesting as the dragons, I liked them, and never felt them being invasive or irrelevant.

Conclusion

After my thirteen episode journey alongside Kobayashi and the crew concluded, the dread of having completed such a wonderful series proved particularly painful this time. I attribute it to the connection I formed with the characters, as the genuine familial presentation seemed more like an invitation into someone's home rather than just a scripted portrayal of a writer's work. As the best of the Winter 2017 season and an all-time personal favorite series of mine, I cannot justify Miss Kobayashi's Dragon Maid as anything less than one of the best in its field. It understands how to do Slice of Life correctly, and serves as an unforgettable series that, despite its short length, will live on in the hearts of its fans for years to come.

Whether we receive a new animated season or not, I know I'll be continuing to engage myself within the life of Kobayashi through the manga, keeping close watch on whether or not she'll finally give in and taste Tohru's juicy tail.

"I wonder what I used to be like? I've already forgotten." - Kobayashi

Humanity has historically found the idea of sending our youngest to war abhorrent, yet what happens when one of the most brilliant and talented soldiers of the time is a blonde, blue-eyed little girl? Inspired by the battle-scarred 20th century European climate, Youjo Senki makes use of a variety of unconventional expository elements that prove surprisingly effective for its genre, though not without flaws.

As personal preference, I will be referring to Saga of Tanya the Evil by its Japanese name Youjo Senki for the remainder of the review. Not only does it flow better, but it sounds cooler.

Will you like it?

You may enjoy series title ... if you…
-- enjoy military themed anime, particularly those inspired by real world settings
-- seek an intriguing protagonist that easily set themselves apart from other MCs
-- consider the involvement such a young girl fighting a war interesting (my personal hook)

You may not enjoy series title if you…
-- find yourself too opposed to the idea of a “loli” soldier
-- can’t stomach episode ranges where dialogue and world-building may get a bit too dry
-- don’t have a stomach of enduring action scenes they may go on for longer than needed

Story

Youjo Senki is Studio NUT’s debut anime, an adaptation of the esteemed and eponymous light novel authored by Carlo Zen and illustrated by Shinobu Shinotsuki. Most unfortunately, there is, as of March 2017, no English serialization of the work.

In contemporary Japan, a self-centered salaryman is pushed in front of a train by a former employee he had just fired that same day. Moments before impact, time is suddenly frozen by a mysterious entity simply referred to as “Being X”. Having been a staunch atheist in his life, the man jeers at the supernatural force, refusing to accept it as his “god” even moments before death. This Being X was not impressed by such defiance, and as punishment, the salaryman is reincarnated as young girl known as Tanya Degurechaff, though retaining her memories of her past life. Quite unlike Japan, Tanya now lives in a war-torn, 20th century European landscape, under the dominion known simply as the “Empire”. Though she is but a mere child, Tanya expresses a particular affinity to magic, which warrants the attention of the Imperial Army. Here, the young girl thinks she can find climb the rungs of meritocracy in order to secure herself a comfy desk job safe from combat, but fate decrees otherwise. Tanya finds herself launched into the front lines, finding herself closer and closer to the death (and confrontation with Being X) she so desperately tries to avoid.

I’m sure what will both attract and repel potential viewers is the fact that the main character is a young girl, but I’d like to fully stress that this unconventional design is fully explained within the lore of the series. The Imperial Army exists as a strict meritocracy with little concern for gender or age, and with the circumstances regarding Tanya’s “reincarnation” being what they are, there is a believable path of progression for her. Seriously, don’t let it keep you from enjoying what is quite the intriguing exposition. Much of Youjo Senki proves extremely entertaining and invests pleased viewers with a fascinating world, explored by way of an amazing protagonist in Tanya.

Unfortunately, the anime faces a few dry spells in terms of progression, with the biggest hit in enjoyment comes from the fact that around the middle episodes. There, we see a lot of the world-building and personal conflict with Tanya formerly prevalent pushed aside in favor of a more militaristic focus. It’s not so much that I didn’t enjoy the battles and ensuing strategy, but the exposition we were originally getting and becoming used to being relegated in favor of what could be considered inferior content did prove a detriment to the overall quality. Now, it’s not to say that any given episode is straight up boring or painful to get through, but the middle section is notably inferior to the beginning and concluding few episodes.

Genre & Characteristics

As a genre I wasn’t familiar had much of a standing in the world of anime, the military theme reigns supreme as the core identity of Youjo Senki (hell, the name means something like Little Girl’s War Record). I’m not much of a military tactician, so I cannot attest to the veracity of certain strategies utilized by a given faction in the series, but they were executed in such a way that made sense to a layman like myself.

Further on this note, there is a ton of action, as would be expected in this sort of genre. What’s cool about the fighting is how the soldiers are accompanied by units of “mages”, or elite combatants that utilize magically empowered weapons or defense matrices to devastate the opposition. This is mainly the reason why Tanya is even allowed to progress as quickly as she has since she retains a high affinity for magical competency. On the whole, all of the fighting scenes were excellent and generally choreographed well. If you are the sort that enjoys watching these sorts of skirmishes unfold, you’ll be pleased by what the anime has to offer.

The supernatural plays a vital role in the lore of Youjo Senki, primarily through the force that is Being X. We are to assume contextually that he is a sort of deity, though whether he is one of benevolence or malevolence, that much is left to perspective. We do know, however, it is a entity who wields great power (enough to stop time and reincarnate beings) and seeks devotion from its inferiors (shown through the irritation of Tanya’s lack of faith). The primary conflict of the series involves that between Tanya and this Being X, which proves analogous to that between a sort of David and Goliath situation.

An element of the story that heavily cultures the story would be the inspirations drawn from our very own world at war. Youjo Senki concerns itself primarily with a fictional corruption of early 20th century Europe, with Tanya serving beneath the Empire, or in our case, Germany. The opponents of the Empire, funnily enough, are the Allied Kingdom and Republic, both the United Kingdom and France respectively. Hell, even the names of the individuals of each faction mimic their real world counterparts (Degurechaff, Serebryakova, von Rerugen, etc.) As a fan myself of this time period, I found my experience greatly enriched as a result of the authors decision to mimic such an environment. It’s not a complete one-to-one parallel, and each zone retains a variety of its own unique elements that justifies the mirror as a parody.

Now, though the lore of these states are interesting, one of the issues of the series is that they aren’t particularly explored beyond their initial presentation. I actually found it hard to really root for any side, as there’s little explanation into the history and cultural values of the Empire, Allied Kingdom, or Republic besides what little bits exist in context. I’m sure many will want to view the Empire as bad and want to root against it, but I question that considering I haven’t seen much to say why they’re a malicious faction other than their military aggression that, mind you, the opposing groups seem to offer with ease.

I do not whatsoever believe this to be an issue associated with Carlo Zen’s written work, rather it’s likely more a fault of the series director in that more of the world-building was left behind in favor of other content.

Animation

The animation is visually impressive, especially considering Youjo Senki is Studio NUT’s first load. A variety of aspects helped make the animation for me, including the creative use of lighting, beautiful cloud design, and otherwise colorful atmosphere for a dreary world at war. In regards to characters, each retained a specific “look” to them that helped bestow and emphasize their individuality.

With all of that being said, I have to mention a few oddities regarding the animation that really stand out. For one, the lips of certain characters, particularly Tanya, tread into the “uncanny valley” at times. It’s hard to say whether this is just a stylistic design by the studio or some intentional attribute made to represent the character, but considering the art of the light novel (illustrated by Shinobu Shinotsuki) is absent of this feature, it’s likely the former. A downgrade, personally, but nothing too damning.

Sound

The sound effects of the series were particularly immersive, generally capturing that gritty atmosphere you’d expect from a WWI-inspired battlefield. The magical strikes resonated strongly to emphasize their superiority not just visually but audibly as well. At times, it did feel as if certain combative sounds were overused, but nothing bad enough to break the immersion.

The soundtrack wasn’t too bad, actually. While it may have been the most neglected aspect of the aesthetic department, you’ll find yourself enjoying some of the tracks as good background music to whatever deafening battle is currently underway.

The various seiyuu throughout Youjo Senki perform their respective roles quite convincingly, with some stand out performances including Houchuu Ootsuka’s von Zettour and Tessyo Genda’s von Rudersdorf. In regards to our main character, Aoi Yuuki does well to encompass a variety of ranges in Tanya’s otherwise restrictive voice, being able to range effectively from that tough commander to adorable girl when the situation demands.

Since discussing the opening and ending is generally subjective anyway, I’ll offer my personal opinion that the opening wasn’t too great. I almost always skipped it, as I feel it doesn’t particularly fit the series and is even a bit annoying, though visually it’s okay. The ending, however, is quite nice. I’m a fan of Japanese artists trying to speak/sing German, considering brilliant tracks such as Cyua’s Blumenkranz (Ragyo Kiryūin’s theme from Kill la Kill), and the fact that Aoi Yuuki performs it as Tanya makes it even better.

Characters

Tanya Degurechaff is our main character. Shrewd and unsympathetic, she is motivated completely by the prospect of self-preservation, seeking whatever means necessary to advance her position within the Imperial Army. Whether as a result of her reincarnation or by pure happenstance, she expresses a high affinity for magical power, which in turn is only reinforced by her various prayers to Being X. As a result of her sharp mind and battle potency, she has been dubbed by enemies of the Empire as the “Devil of the Rhine“.

Overall, I really enjoyed Tanya as a character, and she is easily the driving force of the series. I don’t consider her the “loli Hitler” that some claim her to be, as while she is extremely egocentric, there is little reason you can’t understand her motives or fail to root for her on moral grounds. An argument can easily be made that she is the victim of Being X’s omnipotent tyranny, a mere product of the environment in which she was forced.

As Tanya rises in rank, she commands an elite company unit with a variety of characters. Unfortunately, I never really felt like we got proper time with these subordinates to truly care for them as much as we should, save for maybe Viktoriya Serebryakova as she’s been a part of Tanya’s team since the earlier days. Their names are sadly forgettable, and you wont even find most of them on the anime entry page. Again, this is something I’m sure isn’t much of an issue in regards to the light novel, but this is a review of the anime, and these characters were notably misused.

On the other hand, the upper-echelon military leaders of the Empire are some pretty awesome characters in their own respects. Save for Tanya herself, these are easily the best characters in the series. Kurt von Rudersdorf and Hans von Zettour are the Imperial Army Chief of Operations and Chief of Staff, respectively. These two individuals are exceedingly brilliant and also caught on to Tanya’s merit as a soldier early on. Conversely, Erich von Rerugen is the Vice Director of Strategy and Operation, and the only individual within the Imperial forces cognizant of Tanya’s mental instability. He, along with the other heads of the Imperial Army, retain a great bit of relevance, an important trait for any supporting cast.

Conclusion

At first glance, Youjo Senki appears to be a quirky, perhaps gimmicky series that holds no genuine promise of memorability save for “Oh look, a little girl with a gun!” When investing further, however, you come to engage yourself in a taste of Carlo Zen’s bizarre world of harsh wartime, supernatural influences, and intense combat. It’s not perfect, marred by a few creative flaws and progression issues, but it justifies itself as an anime worth attention, and if you’re into these kind of militarized stories, give it a shot.

Again, I honestly believe that the shortcomings of the anime are not the result of the original work, rather the fact it wasn’t adapted as well as it could have been. There’s a lot of gray space that is likely filled in by content present in the light novel, but Studio NUT seemed forced to exclude a lot of it in favor of more action scenes or military exposition. I pray often that Youjo Senki gets a proper release in the West, though Being X will likely do what it can to fuck me and other English-speaking fans over, much like he does Tanya.

“I wonder if there’s a child protection agency I could talk to…”
– Tanya von Degurechaff

What happens when you mix Himouto! Umaru-chan with angels and demons? Tenshi! Gabriel-chan. Witness main character Gabriel Tenma White’s fall from grace towards the clutches of one of humanity’s greatest evils: massively multiplayer online games! Gabriel DropOut is a fun, charming Slice of Life that follows the lives of two angels and two demons as they engage themselves in the bizarre world of mortal delights.

Will you like it?

You may enjoy series title if you…
-- generally enjoy Slice of Life anime with a medium sized group of main characters
-- consider yourself interested by the implementation of “angels” and “demons”
-- enjoyed the concept and progression of its ... cousin in Himouto! Umaru-chan

You may not enjoy series title if you…
-- often stray from the particular genres with which the series is assocaited
-- seek a plot with deeper thematic substance

Story

All of Heaven’s upcoming angels must take a period of study on Earth to live and learn among their mortal inferiors as requirement for advancement. Gabriel Tenma White, valedictorian of her graduating class, proves one of the most promising angels of the time, that is, until she became corrupted by human living. Thanks to the addicting nature of MMOs, she found herself drawn to lifestyle of a hikikomori, becoming what she proudly refers to as a ‘faillen angel’. Her friend, kindly demon Vignette Tsukinose April, does what she can to help Gabriel get on the right track, yet to no avail. With the sadistic Raphiel and delusional Satania along for the journey, these four supernatural teens come to learn the lines that separates angel, demon, and human are easily blurred.

As we follow the daily lives of the four, the main attention point is how contrary they act to how you’d expect. Gabriel, an angel formerly top of her class, has devolved into an unreliable, lazy shut-in. Vignette, a demon straight from Hell, manages to be a responsible, caring, and otherwise altruistic friend. Raphiel is devilish in her own right, developing all sorts of pranks and such for Satania, self-proclaimed “future archdemon” and the one character who at least tries to act like she should, though usually to her own dismay (and our enjoyment). Scenes generally concern themselves with character interactions, and with the great characters that we receive, most of them are fun and generally humorous.

Genre & Characteristics

While there’s a set lore in place, most of the series concerns itself with the daily events in the lives of the girls, effectively branding the anime a Slice of Life. Unfortunately, an issue that seems to place most in this genre is the very predictable episodic structure. As usual, yes there are holiday episodes, along with a beach journey earlier on. How badly (or positively?) the formulaic approach affects your experience will differ from person to person, and it’s not too big of a deal for me. There’s also a few fanservice-y scenes, though nothing too prevalent. Enough to please those who enjoy it and respect those that don’t.

It’s a comedy anime, and I actually found it to be pretty hilarious at times. Comedy in Slice of Lives, particularly, are subjective, so not everyone is going to get the same enjoyment out of it. I can tell you that if you don’t think it’s funny, I wouldn’t bother watching, as that’s its primary selling point aside from character relationships. There are a few recurring gags that are generally funny and mostly revolve Satania getting screwed over, though at times they can get a bit repetitive.

Fortunately, it would have been very easy for the creators to just add the fact there are “angels” and “demons” as a selling point, but I have to say the fact they weren’t humans really did help give the series more substance. A lot of the actions and dialogue relied on the interrelationships between angels and demons or those beings and humans, which in turn also helped support the comedy. In the latter half of the series, there were a couple episodes that involved the four returning to their respective realms in Heaven or Hell, presenting some really fun scenes from both zones.

Worth mentioning too is that, perhaps as a complement to the rising trend of hikikomori in Japan, the main character exhibits many traits usually absent from a protagonist in her laziness, social withdrawal, and general apathy. With other protagonists similar to this in Kazuma Satou of Kono Subarashii Sekai ni Shukufuku wo! and Umaru Doma of Himouto! Umaru-chan, it’s becoming more prevalent that Japan is attracting this particular audience in their future creative works. If this is a sort of archetype you enjoy, you’ll find yourself pleased with Gabriel overall, but take note that she does take it a bit further and act like a bit of an asshole at times, explained better later on.

Animation

If you’re familiar with Himouto! Umaru-chan, you’ll come to find out the animation is strikingly similar, especially in terms of facial representation, background animation, and scenery. Both were animated by studio Doga Kobo, which I can say does a satisfactory job overall. Slice of Life anime rarely go above and beyond in terms of visual technique, but Gabriel DropOut performs well by enacting bright, exciting visuals with lively characters, however there are often cases of “resting same face” that don’t detract too heavily from its overall aesthetic. That being said, I always have a soft spot for when characters have striking color palettes, and each of the four girls have one, so good job.

Sound

Unfortunately, I can’t say I was too impressed with the music. This is by no means saying it wasn’t acceptable, rather it’s that standard, generic Slice of Life soundtrack you’d expect to hear on almost any series within the genre. A few episodes had some good moments, notably those involving the coffee shop, but otherwise you won’t be looking to buy the discs.

The seiyuu performed their roles very well, with no complaints with any performance. Two VAs did stand out well, particularly with Miyu Tomita nailing Gabriel’s monotone, even bored attitude and Naomi Oozora really seeming to understand the character of Satania, with her air of self-importance captured in detail.

Despite the otherwise underwhelming soundtrack, I did enjoy both the opening and ending themes, both of which were performed by the characters themselves (always a welcome benefit).

Characters

As any good Slice of Life anime will require, the characters within Gabriel DropOut are unique, entertaining, and otherwise lovable. While Gabriel serves as the primary character, Vignette, Satania, and Raphiel receive ample amounts of attention, allowing fans of either or all to be pleased.

Gabriel Tenma White, our titular “faillen angel”, has made radical changes since her visit to the human world. Thanks to the intoxicating nature of video games, she has forsaken any sort of altruistic goals her previous self may have set, focusing only on living her life as a hikikomori. Due to her apathetic nature, she often comes off as a bit of an asshole, though she does have her moments where she lets her true feelings for her friends pour out.

Vignette Tsukinose April is perhaps the strongest character in her stability and attitude. She functions quite strongly as Gabriel’s foil, always trying to help her friend get focused back on her duties as an angel, though she herself seems to act the most angelic of the four. Despite this, she tries her hardest to prove she can be a true demon, but no one is really convinced.

Satanichia Kurumizawa McDowell is easily the most enjoyable character of the series, and the one from whom much of the comedy originates. Though dim-witted and unintimidating, she has delusions of grandeur in that she will become the future archdemon of Hell. Originally the self-proclaimed rival of Gabriel, she comes to befriend the angel as she had no friends otherwise. There’s also a little doggo that comes and steals her melon bread at every opportunity, what a dick!

Raphiel Ainsworth Shiraha is a sneaky little devil, no pun intended, and thrives in the misfortune of her companion, Satania. Large-busted and sadistic, a lot of the comedy also comes from Raphiel, as her pranks, not only on Satania but Vignette too.

There are a few other characters introduced, including Tapris (Gabriel’s easily fooled kohai), Machiko (class president), and the unnamed coffee shop owner (Gabriel’s boss and coffee lover), though none of them have particularly large roles outside of being relevant to a given episode’s plot (or subplot).

Conclusion

Gabriel DropOut is best described as one of those series that doesn’t quite earn the sticking power of a great one but leaves you feeling satisfied and content with your time spent following its conclusion. Much of this is attributed to the fact that it felt very formulaic in its Slice of Life plot progression, though it performs well in offering four lovable characters whose interactions entertain you from episode to episode. These types of anime are not for everyone, and you can pretty much tell whether or not you’d enjoy it from a quick glance, but those that do will find themselves pleased with what’s offered.

“Like, humanity can just go to Hell and die for all I care.” – Gabriel

Don't overthink it. Succumb to the nyanko.

After years and years of painstaking research, Japan's finest at studio EMT² emerge with the perfect girl-to-kitten hybrids. In fact, these "nyankos" are so cute that we are not worthy to witness them for longer than two minutes at a time!

I don't know what exactly it is, but the fact this series even exists just makes me happy. Nyanko Days is nothing but a quick rush of serotonin in cute chibi nekogirl form. Main character Yuuko is a sweetheart, quite relatable to many in her wallflower personality, and her friend Azumi helps supplement the series with a nice, blossoming ... friendship (complete with her own nekogirl!) As no series is complete without a rival, Ran introduces herself as such, though of course she has a softer side to her otherwise competitive spirit! Mostly importantly, each of the kittens in Ma, Ro, Shi, and Elsa each express their own individual personalities and quirks, leading for a diverse cast of kittens to cuddle!

No, it's not a literary masterpiece, not even close, but that's not the purpose. Nobody buys a cat and expects it to recite Shakespeare or Descartes. You watch Nyanko Days to feel good. You watch it to forget your troubles. You watch it to see cute cats doing cute things.

Stress from work? School? Break-up? Just angry at the world? Nyanko Days, my friend. Your pain and discomfort will melt away as you're comforted by four of the cutest beings ever drawn. There's something genuine in each and every expression that lets you know everything will be okay.

It's just hard to explain. If you like this kind of über-kawaii content, you're going to like Nyanko Days. Two minutes of your time for a rush of happiness? Count me in.

The only outstanding flaw of the series is how short each episode runs, being only a minute and a half when you exclude the outro. The mini-episodic format the creators elected towards greatly affects the flow of the series, with some episodes forbidding us from even seeing our cute companions in favor of the girls. It will prove one of Japanese animation's greatest tragedies that Nyanko Days didn't get the proper run-time it deserved.

With all of that in mind, there is only one thing to take from this completely serious review: Nyanko is love, Nyanko is life.

Have you ever wanted to meet a vampire? A dullahan? Perhaps a succubus? Biology teacher Tetsuo Takahashi did! These beings, several species in a class known as “ajin” or “demi-humans”, shortened to “demis”, are scarcely seen in society, though four come to attend the same school as Tetsuo! Interviews with Monster Girls is a cute, heartfelt, surprisingly deep comedy that will certainly impress with its lively cast.

Will you like it?

You may enjoy Interviews with Monster Girls if you…
-- enjoy light-hearted series with a heavy character focus
-- find yourself intrigued by contemporary interpretations of the supernatural
-- seek a “feel-good” sort of experience

You may not enjoy ... Interviews with Monster Girls if you…
-- generally stray from character-centric series wherein the focus are school girls
-- expect the series to be anything similar to Monster Musume no Iru Nichijou

Story

Interviews with Monster Girls adapts the ongoing eponymous manga series authored by Japanese mangaka Petos, published under the Kodanasha brand.

Tetsuo Takahashi, hereafter referred to as “Takahashi-sensei” or simply “Tetsuo”, is a biology teacher who retains an inquisitive fascination for demi-humans, beings very similar to humans yet expressing inhuman and otherwise supernatural characteristics. Historically, they have been viewed with distrust by their mortal counterparts, though contemporary movements and cultural shifts have allowed them to integrate well into society. Even so, they are exceedingly rare, and few ever have the opportunity to meet such intriguing individuals.

Coincidentally enough, three demis come to be students at his Shizaki High School: Hikari Takanashi (a vampire), Kyouko Machi (a dullahan), and Yuki Kusakabe (an ice woman). A fourth demi Sakie Satou (a succubus) is hired to be the newest math teacher. As the series progresses, Tetsuo becomes friends with each of the demis, seeking not only to learn more about them but make their lives and integration into human society more comfortable through a greater understanding of what makes them unique.

There’s a certain range of depth Interviews with Monster Girls explores that truly sets it apart from series within its genre. Heavy topics such as discrimination, adaptation, and fitting-in are discussed thoroughly as Tetsuo’s studies of the demis develop. We come to understand how these otherwise normal girls face issues just by existing in, what is to them, a very foreign world, both in physiological and social terms. While, mostly unfortunately, our world is not populated by these fascinating creatures, there are humans that have suffered from the same issues the demis do, allowing for such a real world application to greatly enrich the merit of the story.

Genre & Characteristics

As the title suggests, the existence of “monster girls” or “demi-humans” indicates the presence of supernatural characteristics, though in small amounts as per the rarity of such beings and their willingness to assimilate human characteristics. While at first glance you may be unsure how beings such as vampires can life safely among their supposed prey in humans, the writers impress well in their justification. Mutations in reproduction are offered as a source of the demis in lieu of otherwise mythological origins, and the supernatural characteristics are explained in creative and believable ways. For instance, the intoxicating effect that succubi have on males is attributed to the production of pheromones or aphrodisiacs. Quantum physics was touched up to describe how a dullahan can exist with his or her head “visibly” separated from their body. Much of the series concerns itself with Tetsuo’s revelation of “how” and “why” demis work, turning it into, at times, somewhat of a pseudo-educational series.

Expanding upon a point made earlier, something important to realize about this series is that it is not, as some may initially assume, Monster Musume-lite. While the two series share many similarities, most notably in the “monster girls” aspect, Interviews with Monster Girls is not a harem, nor does it engage in a sexual focus you’d come to expect from an ecchi like Monster Musume no Iru Nichijou. While topics of sexual origin are occasionally discussed, they are brought up as a result of Tetsuo’s wish to understand the demis physiological nature, not through personal interest of the girls (yes, even Sakie). A certain demi does develop somewhat of a crush on Takahashi-sensei, though it’s understood that such feeling is one-sided, and more as a hormonal reaction to his dedication to make the lives of demis like herself easier.

Since no series is perfect, I want to expand upon something that really holds it back in that, at times, the thematic exposition can often come across to the viewer as either preachy or staged, greatly affecting the otherwise genuine feel of the series. No viewer ever wants to feel as if they’re being lectured to, and unfortunately some scenes give off that vibe. I recall a specific event in an early episode where one of the demis confronts a gossiping duo about their actions, and while the message is important and was received, there could have been better ways to execute the dialogue without having the scene seem like a public service announcement. The best way for a series to convey a thematic message is by not shoving it in your face, as masterful writing indicates an ability to teach without teaching. Fortunately, the overwhelming majority of the series does not function like the aforementioned, but I can’t deny that there were times where I felt my experience diminish as a result.

Animation

There are a few studios out there that are known for always producing consistently quality animation, and A-1 Pictures, much like Kyoto Animation (though subjectively perhaps not to the same extent) is one of them. Interviews with Monster Girls proves no different. The animation is fairly simple, but it’s executed well, and at times there are moments of genuine beauty. I thought that each of the characters were well designed, often accompanied by bright color palettes that not only helped them stand out but greatly underscored their personalities (such as Hikari with the bright yellow and Sakie with the contrasting red-and-purple).



Sound

Though the soundtracks of such series rarely offer much impact, you’d be surprised with this one. Interviews with Monster Girls presents itself as a light, cozy anime, and the soundtrack does well to mimic this in the wide usage of soft string instruments. It’s a lot like background noise or elevator music yet without the negative connotations, rather quite the opposite in how it exists behind the scenes yet gracefully adds to the overall engagement.

The voice actors across the board performed their respective characters flawlessly, as a seiyuu is as good as they can become their character. Much like their animated forms, how they speak should generally represent their personality in some way, and each character does that fully well. Takahashi-sensei boasts a smooth, deep voice, exemplifying his position as the trustworthy, stable man that he is.

In regards to the opening and ending pieces, both are utterly fantastic in their respective roles of initiating and concluding an episode. The opening is particularly creative, introducing each of the demis in a sort of pop-up book style that exudes charm. Over the course of the series, the sequence actually does receive slight changes, making the dynamic nature a nice touch. As for the ending, you receive a very light, introspective progression, with fantastic aesthetics that mimic instances of coloring (or vivifying a blank world, much like the demis do themselves).

Characters

There are five main characters in Interviews with Monster Girls, involving two teachers (Tetsuo and Sakie) and three students (Hikari, Kyouko, and Yuki). Some supporting characters appear and become relevant from time to time, all human, though the focus of the show remains largely on the four demis and our inquisitive main character.

Main character Tetsuo Takahashi, full-time biology teacher, part-time demi-whisperer, is perhaps one of the most likable anime characters in the genre. He’s a big guy, much to the credit of his name, but also has an equally big heart.

Hikari Takanashi, not to be confused with Takahashi-sensei, is more or less the primary demi of the series. A vampire that loves garlic, drinks tomato juice, and swelters in the heat, she personifies the hyper, energetic, and friendly schoolgirl image, while also proving extremely altruistic towards her friends. Personally, she was my favorite of the girls.

Kyouko Machi is one of the four dullahans known to be alive, and the only one that lives in Japan. Polite, intelligent, and shy, Machi, as she as most commonly referred to, is the most reliable yet also most insecure demi of the group. As mentioned before, she also develops a strong attachment to Tetsuo, which itself serves as a cute subplot.

Yuki Kusakabe is the singular Japanese demi in her nature as a yuki-onna or “snow woman”. She was often accused of being anti-social, though it was more so because of her inability to control her innate abilities in the presence of others. Much like Machi, Yuki is quite both intelligent and shy, though quite loyal to her friends.

Sakie Satou, objectively best girl, is the only adult demi present in the series. Though she’s a succubus, and a damn attractive one at that, Sakie goes out of her way to conceal her body, as merely touching her bare skin can activate her aphrodisiac effect. Ironically, Sakie is a hopeless romantic, and seeks nothing more than a genuine relationship with a companion, a struggle seemingly impossible until the arrival of Tetsuo. Though wary of him at first, Sakie grows to develop a crush on our brawny biological buff, as he is the only man that appreciates her for who she is, rather than the effect she has. If you ship relationships at all, you will hardcore root for these two.

In retrospect, what truly sells the show are the characters. These individuals don’t exist as caricatures of their respective demi identities, rather they grow and develop just as you’d expect a real person to do so, and this trait serves as an immense boon to any series. Each personality is so unique and rich in substance they stand well on their own, and the various interrelationships present help develop a variety of paths to explore. It’s also worth noting that each character, including Tetsuo, receives a balanced amount of attention, so if you have a favorite (or simply like them all), you’ll be pleased.

Conclusion

It’s a bit disappointing how Interviews with Monster Girls was likely the most slept-on series of Winter 2017, as if it weren’t for the short duration and sparse instances of artificial moralistic dialogue, this series would have been a strong contender for best of season. Combining excellent exposition with an interesting concept and five great main characters, this anime knows how to tug at your heartstrings in all the right ways. Few anime succeed as well at being an uplifting series that will leave you feeling so fantastic and fulfilled following the conclusion, that is, after you recover from it ending. It’s gonna bite, but don’t lose your head over it.

“You can’t look at things in only one way. You should look from both angles.”
-Tetsuo Takahashi

The adventuring foursome of misfit adventurers returns in the ever-exciting season two of Kono Subarashii Sekai ni Shukufuku wo! With new adventures to be had and an overall shift in focus, does the second edition prove a fitting continuation? I would say yes, though it's not without its problems, all discussed in the following text.

As a disclaimer, this is mostly a comparative review, therefore much of this review relies on comparisons to the quality, experience, and enjoyment of the first season. No major spoilers are unveiled for either season, but a proper understanding and foundation of the initial series (or light novel) is recommended.

How do ... the seasons compare?

What's changed for the better?
-- additional character development for characters left lacking previously
-- supporting characters are given more screen time
-- more personalized dialogue, where inter-character relationship sees a boost

What's changed for the worse?
-- moderately reduced animation quality, moreso inconsistent than anything
-- a deviation from the first season's identity as a RPG-style world

Story

KonoSuba 2 picks up from where the first season left off, as Kazuma Satou, notorious NEET and main character, is under trial for causing the destruction of a noble's mansion. He nearly faces execution until Darkness invokes her authority as a noblewoman and manages to get him a reprieve, though he must still pay back the debts. Prosectur Sena, meanwhile, follows him and the crew around in order to see whether or not he works for the Devil King's army. The series continues following the party around as they seek new ways to generate income in order to pay off their debts, continuing on further kill quests and even involving a dungeon mission. When a great wealth inevitably befalls Kazuma, does this spell fortune for the young man's otherwise misfortune stay in this wonderful world?

For the most part, the plot of the second season is enjoyable, with progression being dominated by mini-arcs. There are two episodes where a specific dungeon is visited and revisited, an area that truly had some great dialogue and fun new characters. That zone, particularly, really seemed to get the spirit of the series, and it's there that the second season shines. Later on, a tourist city complete with its own hot springs and fervent cultists becomes another source of great moments. In regards to the ending, the crew was faced with an "emergency quest", as in another boss, and everyone got their own time to shine in the final battle, much to my appreciation. Each individual mini-arc had something unique to itself that let it shine as a part of the series.

Once again, however, the season was relegated to a stunted length of ten episodes. As much as I complain about this low a count, it would be okay if the series progressed as a ten episode series should. With the first season feeling like it ended prematurely and without much conclusion, so too did the second. I can see this becoming a dangerous, even harmful trend for the series if a third season arrives and concludes with the same pattern.

Considering the popularity of the series, I can't imagine that we wont be getting a third season, but personally I'm more inclined to combine everything into a standard 12- or 24-episode package and develop additional seasons from there. While the light novel / manga itself may be structured as a long-lasting epic, anime series constrained to ten episodes a season do not have that luxury (unless you're One Piece), and the creators may find themselves losing their audience if stability is not achieved.

Genre & Characteristics

On the whole, stylistically, KonoSuba 2 continues in its predecessor's footsteps. I do feel like the series undergoes a heavier "adventure" focus, with the group actually travelling around rather than just using the town as a questing hub. As for the other elements of the fantasy lore and lewdness, they remain strong, integral parts of the series.

However, much of the "gaming" and "progression" appeal as previously shown in the first season was largely absent by comparison for this one, only showing any major relevance in the dungeon scenarios. While there are heavy moments of combat and even gear acquisitions, action slows to all but a halt in the latter half of the season, causing the series to develop more as a fantasy comedy rather than an action/adventure anime. Don't get me wrong, I actually think this season was far more humorous than the previous, but seeing a deviation from what I thought was one of the series' strongest and most unique elements in its RPG-style progression proves a detriment in my opinion. The biggest issue of the story for me involves the lack of direction or focus, and now I'm starting to see that indecisiveness bleed out into the overall foundation.

Animation

Most unfortunately, the biggest detriment to KonoSuba's second season is the distinct drop in animation quality. While I found myself a fan of the first series' visuals, the style of KonoSuba 2 often seems to skate the realm of laziness. Characters are much less fluid and even odd looking at times, quite a difference compared to what was experienced before. Whether it be an issue of budgeting or change in staff, my enjoyment was noticeably affected as a result. With this in mind, the reduced quality applies mainly to character animation, as the various backdrops and visual effects of combat aesthetically pleasing and even outstanding as before.

Sound

Fortunately, the soundtrack retained much of the coziness you'd find in the previous season, and the setting is represented well this way. Both the opening and ending were great, particularly the latter as its voiced by the characters themselves.

The seiyuu, both returning and new, also performed their roles spectacularly. One of the strongest suits of KonoSuba, both new and old, has been that the characters feel exciting and live. Voices often have a serious impact on how accurately a personality is emphasized, from Aqua's high-pitched, pompous tone to Yunyun's shaky but confident spirit.

Characters

Further to the credit of the season, each of the main characters are as entertaining as always, and some of them received the development that was seemingly absent from before, notably Darkness through her mini-arc. The character cast remains largely the same, though we do have the introduction of new characters Yunyun, crimson demon and self-proclaimed rival of Megumin, Vanir, maniacal entrepreneur and Devil King general, and Chomusuke, Megumin's adorable black cat. Others, such as Wiz and Eris, receive a great deal more screen time, with the former potentially become a member of the party herself!

There's an abundance of fun scenes between the characters, greatly highlighting the new direction of the series. The spirit of discovery and togetherness is really highlighted in this season as we see the party members further bonding together, though not without their previous incompatibilities. Personally, I really enjoyed the various "rival" matches between Megumin and Yunyun, as the latter tries her damnedest to match up with Megumin yet to no available.

And yes, again, Megumin is still best girl. This will still be true in season three.

Conclusion

The best way to boil down KonoSuba 2 is that substantially it has improved, though aesthetically it has suffered, with an exception to the former regarding the ambiguous direction the series is heading. How good the second season is will largely differ person-to-person, and I've noticed it's certainly been a polarizing release. I personally found it more enjoyable thanks to the heavier character focus and improved adventures, though others may find themselves too distracted by the lack of focus or inconsistent visuals. At it's core, KonoSuba 2 remains a fun series, and regardless of whether you like it more than the first season or not, you'll enjoy it just for being KonoSuba.

"Damnit, what the hell is with this world's game balance??" - Kazuma Satou

JoJo’s Bizarre Adventure is perhaps one of the most genuinely honest titles I’ve ever seen for a series. Born from Hirohiko Araki’s long-running love child, JoJo earns its multitudes of fans, both Western and Eastern alike, through its compelling lore, inventive aesthetics, unconventional soundtrack, and authentic characters.

Next, you’re going to say, “You sound like you’re talking it up a bit. Why would I like it?” Well…

Will you like it?

You may enjoy JoJo’s Bizarre Adventure if you…
-- thrive in series with rich, interesting characters and lores
-- enjoy historical themes and settings
-- have a taste for classic and alternative rock music
-- appreciate shows that try to pursue ... more of a Western tone

You may not enjoy JoJo’s Bizarre Adventure if you…
-- generally avoid action-themed or combat heavy series
-- dislike anime that are heavy in dialogue

Story

JoJo’s Bizarre Adventure adapts the first two “parts” from the eponymous manga series, “Phantom Blood” (ep. 1-9) and “Battle Tendency” (ep. 10-26). Each respective part features a new primary protagonist and antagonist, with some supporting characters persisting between parts. As I have yet to experience the manga, I cannot attest to the legitimacy of the adaptation, and this review is solely for the 2012 anime.

“Phantom Blood” is set in 19th century Great Britain and concerns itself with the conflict between wealthy nobleman Johnathan Joestar and spiteful youth Dio Brando. Dio’s father, Dario, had saved Johnathan’s father years before from a tragic death. Though he was a rotten, selfish man, Dario’s dying wish was that Dio be raised in the esteemed house of Joestar so that he may secure a life of wealth. Johnathan and Dio grow to be bitter rivals, as the latter seeks to take the fortunes of house Joestar for himself. With the power of a stone mask, Dio seeks to usurp what he believes rightfully his no matter the cost, even his own blood.

“Battle Tendency” situates itself in fifty years after the events of “Phantom Blood” and under a new member of the Joestar clan, Joseph. Though physically similar in their gargantuan statures, Joseph is nothing like the gentleman his father was. With the true nature of the previously mentioned stone mask revealed, Joseph is drawn into a conflict leashed to his destiny, forcing the shrewd young man to continue his grandfather’s quest to save the world.

You would think with the awkward nine to seventeen episode spread between parts that the pacing proves awkward, but you more or less glide through each arc, and the transition between parts was a smooth one. JoJo’s Bizarre Adventure is inherently and stylistically fast-paced, and rarely (if at all) will you find yourself bored or disinterested. It helps too that Joseph Joestar, the protagonist of “Battle Tendency”, proves an extremely entertaining character, making up for what time was lost with the also enjoyable Johnathan Joestar of “Phantom Blood”.

Thematically, it’s hard to call it a “coming-of-age” story for either character, but it’s somewhat similar to that in its origins as a ‘shounen’. The whole “adventure” aspect does provide an immense amount of growth for both characters, as both JoJos were ripped from their comfort zones and forced into a destiny with dire consequences. Perhaps a little more.

Genre & Characteristics

At it’s manly core, JoJo’s Bizarre Adventure is a series centered around action, and boy does it seriously impress with its intricate fighting scenes. The impact of blows are felt considerably as they’re accompanied by proper visual and auditory queues that really add another dimension to them. A lot of thought and strategy also goes into each fight, as the protagonists (and antagonists, even) prove to be more than just walking sacks of muscle. Joseph, notably, retains a knack for trapping and fooling his enemies, laying them super quick while he distracts them with his dialogue. Combat, this way, becomes more of a game of wits, not just measure of strength, bringing a marriage of both brain and brawn to the table.

Though most characters are seriously ripped, mere mortal strength is hardly a proper tool to combat beings of supernatural power. Rather than making use of weapons or some form of magic, the protagonists assume the mystical art of “Hamon”, a source of energy born from controlled breathing. This magical power allows an ordinary man to unlock his mortal shell, promoting himself to superhuman levels of ability. Various techniques are learned and mastered under the art of Hamon, known frequently as “overdrives”, that perform specific effects depending on the nature of the Hamon utilized and intended target. I consider this battle art to be a creative way to empower the characters, especially since I’d never heard anything like it before. It has its clear weaknesses and doesn’t lead any one user to become overpowered or immune to threat, granting even the most minute sense of realism in an otherwise irrational world.

Much of the lore of the series is grounded in the supernatural, notably inspired from South American tribal and European vampiric mythologies. The catalyst of action in JoJo stems from a Joestar family heirloom, a stone mask of Aztec origin that reacts violently to contact with blood. It’s far more nefarious purpose is explained a few episodes into “Phantom Blood”, and it retains relevance all the way through the series, permanently impacting the characters and their futures yet to come. Without revealing too much, in addition to the mysterious mask, creatures such as vampires, zombies, and ghouls exist as combatants that each JoJo must face in their respective adventures. Though they’re generally interesting, a few enemies seem to have inconsistent power levels, and some felt boring in their design, but I emphasize that this is a minority.

As previously mentioned, there is a considerable Western influence to the world of JoJo’s Bizarre Adventure. Spanning settings such as rural England, urban London, arid Mexico, and scenic Italy, Westerners will find themselves comfortable with far more familiar environments and cultures that helps to engage viewers in the world’s expansive lore. Not only does it bridge cultural gaps, but it also helps set it apart from other fighting anime in this respect, most of which are seemingly centered in Japanese settings.

Perhaps the single thing that truly holds the series back for me is that there is an overwhelming amount of character narration, where the “show-don’t-tell” rule is often violated in favor of dialogue-driven exposition. While in a lesser series I would view this with more scrutiny, JoJo’s Bizarre Adventure at least succeeds in having brilliantly entertaining characters to deliver said narration, notably with Robert E.O. Speedwagon. I can’t say it hasn’t bothered me at several points throughout the series having to sit through dialogue explaining what is easily visible.

Animation

JoJo’s Bizarre Adventure offers a one-of-a-kind animating style that’s a experience in and of itself. Studio David Production really outdid themselves with creating perhaps one of the most aesthetically inventive series in recent years. Few anime have a look in which you can look at a singular frame and tell instantly where it’s from just based on looks. Rather than a specific element making the animation shine, several unique elements function together to create the visual medley that is the animation.

Manliness is not only expressed in each character’s personalities and voices. Any artist would be considerably impressed with the plethora of ways muscular compositions have not only been drawn but exaggerated. Further, the various poses stand out as one of JoJo’s Bizarre Adventure’s characteristic trademarks, with each unique stance oozing in personality and individuality.

Onomatopoeia are quite often visually describe in the form of their respective Japanese character representations, notably shown in the iconic 「ゴゴゴ 」 or ‘menacing’ text. These non-diegetic elements apply strong flavors to particular scenes that help to emphasize the intended effect, impact, or tone of a situation. They are never introduced ad nauseam, rather they’re always implemented creatively and warrant appreciation when shown.

For perhaps the strangest artistic touch, there’s a distinct act of swapping color palettes throughout the series. These shifts generally reflect a sharp shift in tone or threat, visually representing that which is usually felt. It’s a weird form of synthesia that helps enrich the quality of a given scene, further garnishing the overall experience of viewing.

Sound

The exceptionally diverse soundtrack proves to be one of the series’ most outstanding qualities, as each part’s respective OST offer music virtually anyone could enjoy. The various themes for characters or settings aptly fit the characters and play with fantastic timing.

Original creator Hirohiko Araki’s musical taste noticeably bled out into his writing, as an overwhelming amount of characters are named after noteworthy rock groups of years past. Honestly, it’s hilarious to learn of a new character because you can quickly match them to the band/group for whom they were named (Dire/Straizo => Dire Straits, Robert E.O. Speedwagon => REO Speedwagon, and Esidisi => AC/DC to name a few).

Each and every seiyuu managed to give amazingly convincing performances, with the main characters shining particularly. The stylistic performance of each voice actor could be akin to that of what you’d expect from a professional play, in terms of emotion, impact, and presence.

Noting even further home runs batted by the series, both openings are among the best throughout anime, both visually and audibly. The lyrics of the OPs match up well with the series, and as their purposes are to introduce and invest a viewer into a series, this is necessary of a proper opening. “Sono Chi No Sadame”, the opening for “Phantom Blood” perfectly explains the conflict of the particular arc and the consequence of destiny in both young Johnathan and Dio’s lives. “Bloody Stream”, the opening of “Battle Tendency” serves as not only a visual treat but one that too understands the story in lyrical format. In regards to the ending, with only one present for all twenty-six episodes (though spliced differently per episode), British rock group Yes’ “Roundabout” plays after the iconic “To Be Continued” conclusion. Again, if you like rock music, you’re going to find yourself at home with the anime’s soundtrack.

Characters

We can talk all day about how good the series looks, sounds, and progresses, but what makes JoJo’s Bizarre Adventure is the characters. Few anime can claim to have such rich, heavily developed, personalized, and exciting characters.

Starting with the protagonists, Jonathan Joestar epitomizes what it means to be a 19th century English gentlemen: polite, studious, and robust. William A. Zeppeli introduces himself as a master of the Hamon technique, becoming the teacher to Johnathan. His status in the story is that of the wise teacher.

Joseph Joestar proves a stark contrast to his grandfather in all aspects except the physical. Witty, sarcastic, and temperamental, Joseph makes a name for himself as a laissez-faire joker on the outside but a caring, shrewd hero on the inside. Of the two, Joseph is my favorite JoJo, though not to discredit his grandfather in the slightest. Caesar Zeppeli exists as Joseph’s foil and rival, though the two grow to develop a sort of bromance over time. His contrasting attitude helps cultivate a healthy rivalry for Joseph, much the opposite of what Johnathan endured with Dio.

I always thought it was cool how the protagonists progressively change in the form of family, with the protagonists primarily encompassing the Joestar and Zeppeli family lines. It’s certainly one of the more creative ways to say “pass the torch” between primary characters, and each successive generation shares enough traits while proving individual in their own rights.

In regards to the antagonists, Dio Brando initiates himself as quite the relatable individual. Though not without his inexcusable flaws, we understand that his lust for power and wealth stems heavily from his abusive, neglectful childhood. Going from having nothing at all to potentially the world at your finger-tips can shock a man, and Dio, despite his calm, collected outer shell, proves one easily tempted by delusions of grandeur. As the story progresses, Dio develops more into a maniacal tyrant as he becomes consumed by his own ambition. He is perhaps one of my favorite anime villains.

The Pillar Men, without divulging too much information, exist as a group of warriors bound wholly to their code of honor, strength, and superiority, utilizing any means to achieve their goal of becoming the perfect being. Their interactions with Joseph and the rest are very much analogous to series with alien characters, as the Pillar Men having been resting for so long made them completely disconnected with the human condition. Each individual had his own distinct perspectives and attitudes, allowing for a more dynamic “antagonist” than you’d experience with just one character.

A variety of notable secondary characters populate the world of JoJo’s Bizarre Adventure, most notably including Robert E.O. Speedwagon, vagrant-turned-tycoon and friend to the Joestars, Lisa Lisa, threatening yet poised Hamon instructor, Erina Pendleton, English noblewoman and love interest of Johnathan, and Rudol von Stroheim, borderline insane German officer. I could go on all day about each of the respective characters, and they truly are great, but it’s best that you experience them at full value through watching the series.

Conclusion

JoJo’s Bizarre Adventure will forever stand as one of the most iconic Western-oriented series.. The various memes, references, and fans it’s spawned over the last few years serve as proof for its massive cultural impact in the field of Japanese animation. If you consider yourself even remotely interested in the series, watch it. You wont regret it, and now you’ll know where all those JoJo references came from.

“If it’s my fate, I accept it.” - Joseph Joestar

As a short, thirteen-episode series, Space Patrol Luluco redefines what it means to be “fan service” by existing as a vibrant amalgamation of Trigger’s expansive catalog of series, all centered around a middle-schooler seeking normalcy in an unlikely place.

Will you like it?

You may enjoy Space Patrol Luluco if you…
-- consider yourself a fan of the animation studio Trigger
-- enjoy content that focuses on referencing other content
-- seek a short, casual series that doesn’t take itself seriously

You may not enjoy Space Patrol Luluco if you…
... -- don’t have a taste for off-the-wall types of series
-- largely dislike repetition within episodes
-- expect a high volume of maturity

Story

Space Patrol Luluco concerns itself with the eponymous main character, a young girl that wants nothing more than to live a normal life. This ambition proves challenging as she lives in Ogikubo, a futuristic metropolis inhabited by both humans and aliens. One normal day, as she and her father are eating breakfast, the latter consumes a pill that freezes him completely, leading Luluco to seek assistance at her father’s work, the Space Patrol. As a way to pay for the seemingly expensive defrosting process, the Over Justice Director-General conscripts Luluco into the Space Patrol so that she may help fight space crime at the local middle school. Later accompanied by comrades Alpha Omega Nova and Midori, Luluco sets off to fight for justice and ultimately free her dad so that she may secure stability in her otherwise hectic life.

Though it’s mostly a silly plot with little thematic merit outside of Trigger’s patented madness, there’s still some narratives that help provide some substance to an otherwise “just-for-fun” series. The strive for normalcy in abnormal circumstances and the consequences and ambiguity of one’s “first love” dominate much of Luluco’s path throughout the series. At only seven minutes per episode and thirteen episodes in total, Space Patrol Luluco is a very short series, and it’s hard to tell much of a thought provoking story in that time. With that in mind, it effectively told its intended story while presenting us with enough extra content to leave us satisfied after its conclusion.

Genre & Characteristics

While there is an original story at play within Space Patrol Luluco, much of the series revolves around references to other Trigger series, such as Kill la Kill, Little Witch Academia, and Inferno Cop. Some characters from the aforementioned make even make cameos throughout the series, interacting with Luluco on her quest to achieve normality. It’s hard to experience the full effect of the anime without having seen many of these series, so it’s advisable to complete a few of them first before watching this series. At times, you might find yourself lost or not getting what’s being presented to you, which could possibly dissuade you from continuing further. With a knowledge of Trigger’s compendium, however, you’ll notice how Space Patrol Luluco plays off a lot of the tropes and cliches set forth through their other series. It’s definitely enjoyable to see, and you’ll find yourself guessing what next they’re going to satirize.

There are also elements of space and science-fiction that help bind the universe together. As the series is largely focused on the characters, references, and plot, these elements are more or less utilized by the plot rather than representative of the story. Nothing really makes sense, and I think that’s the way it’s supposed to be. Abductions of entire cities, beings comprised of black holes, and combative suits that transform you into firearms generally aren’t grounded in much logic, no?

Animation

You’re watching a Trigger animation. Honestly, that’s the best way to describe the erratic, one-of-a-kind aesthetics you’d come to expect from a Trigger series. Between the bright colors, rapidly animated bodies, and personalized facial expressions, you either love it or you hate it, and there’s very few who lie in-between. I am a fan of the style, however, and found the series’ animation to fit the universe it’s depicting perfectly.

Sound

While the soundtrack was likely the least memorable part of the series, it’s not to be discredited. There’s a heavy bubble-pop and techno influence, aptly representative and respectful of the setting and protagonists, so fans of such music will enjoy what’s to come. I never found the music irritating or improperly utilized, so I say they did well in this area.

For the most part, I was pleased with the performances of the seiyuu, and only one voice (Keiji, Luluco’s father) really grated on me. Luluco and Nova’s voices personified their respective characters into believable roles, always a welcome trait any main character. A few of the seiyuu have previously participated in other Trigger titles, such as Midori’s (Nonon Jakuzure from Kill la Kill), Over Justice Director-General’s (Ira Gamagoori from Kill la Kill), and Inferno Cop’s (as Inferno Cop). I found their presence familiar and enjoyable, and it was nice to have a mix of both the new and old in such a series.

Surprisingly enough, both the opening and ending for this series are fairly nice. I always enjoyed the energetic opening as a perfect introduction to the madness that was to come. The ending stands out quite a bit considering how chill of a finisher it is for an otherwise wacky experience.

Characters

The main characters of the series are three Space Patrol agents, Luluco, our charming and bright protagonist, Alpha Omega Nova, a handsome agent full of apathy, and Midori, rebellious youth and hands-down best girl. They are accompanied by a variety of secondary characters I found largely humorous, with many of them serving as caricatures of certain character archetypes or representations of previous Trigger characters (Lalaco w/ Ragyo Kiryuin of Kill la Kill, Over Justice Director-General w/ Inferno Cop, etc.) Respectively, they are not the deepest characters, save maybe for Luluco, but a good majority are loveable and will earn your attention as the series progresses. I’ve never come to understand the importance of “JUSTICE!” before experiencing the adventures of the Space Patrol.

Conclusion

It’s cute, it’s silly, and it’s great, though not without some issues. The bottom line is that you shouldn’t watch Space Patrol Luluco is you either don’t enjoy the Trigger style, aesthetic, or humor or are going in blind and unaware of it. If you fall into the latter category, watch a couple Trigger series first before diving into this short adventure. Space Patrol Luluco is for Trigger fans. It doesn’t stand very strongly on its own, but as a supplement to quite a bustling universe (dubbed affectionately as the Triggerverse by fans), it soars the skies.

“It’s a miracle of justice. Justice is a miracle!” – Over Justice Director-General

Ah, isn't it every gamer's dream to immerse themselves in a real-time fantasy world complete with adventure, magic, and friends? In an interesting spin on the "game immersion" genre, Konosuba delivers an exciting, traditional perspective on a gamer-turned-adventurer character, though presents itself as a very niche title.

Will you like it?

You may enjoy Konosuba if you...
-- find the "fantasy game" genre appealing, notably including RPG-type progression
-- consider yourself a "gamer"
-- like series that focus heavily on a singular group or party of characters
want a short, fun series that doesn't take itself seriously

... You may not enjoy Konosuba if you...
-- feel uncomfortable with or have low tolerance for lewd or suggestive content
-- generally avoid the fantasy, supernatural, or comedy genres
-- don't find the main character relatable whatsoever

Story (read the synopsis first!)

The first season of Konosuba is a relatively shorter series than the average, having only ten episodes. Most episodes concern themselves with the party pursuing a given quest or training for future endeavors, with there being a slight mini-arc in the middle. As for the main goal of actually slaying the Demon King, the party keeps a realistic understanding that they are nowhere near prepared enough to take on the end-game content.

The story itself I found extremely enjoyable, nothing too expansive and more focused on the characters and their struggles than anything. I enjoyed the unique take on the fantasy world, something I'll explain further later on, and felt it to be a mixture of several different animes in one.

It's worth noting that Konosuba does suffer from confusing pacing and expository issues, notably in the second half. A couple episodes introduced characters previously unknown to the audience that somehow had relevance to the main characters. This may very well be an error made as a result of the adaption, though it's no less excusable. Considering, too, this series was insanely popular and had its second season approved quite quickly, I'm hesitant to say it was "rushed". The series could have easily been expanded to account for the missing content, so I hope to see this issue fixed in the subsequent season.

Genre & Characteristics

It's hard to put a name to the "game" genre that has blossomed quite a bit since the release of Sword Art Online. Konosuba stands apart from its fellow game series in that it pursues a traditional setting, with no technological foundation, user interfaces, or hyperactive combat. Everything is set in a somewhat feudal or medieval setting, with magic and the supernatural serving as the boundaries of the universe. Personally, I perceive this as a better, more familiar setting, and the series executed it quite well.

Further along the "gaming" spirit, one will appreciate how loyal the series is to the various attributes of a roleplaying game. Magic, progression, and guilds dominate much of Konosuba's setting. Players complete "quests" for rewards such as "xp" or "Eris", the currency of the universe, and allow themselves to increase their combat potency by learning skills and spells. Konosuba succeeded with this format, though it was noticeably underplayed. I would have liked to see a greater focus on the level progression of the individual characters than what we received, as level gains were often noticed in passing and not highlighted as we'd expect.

Any prospective viewers with prudish views towards what is commonly referred to as "fanservice" would do well to ignore this series, as Konosuba is a heavily suggestive from beginning to end. A lot of the gags are suggestive in nature, with magic involving stealing "panties" and the such. I understand that for many individuals, this may prove a turn off, so it's best not to go in the series thinking anything else. This kind of content doesn't bother me, and I don't think it affected the series in a negative way at all, but I also know how it's a "make or break" for some. Your choice.

Animation

The animation throughout Konosuba is actually quite impressive, with all of the magical effects and combat sequences vividly detailed and choreographed well. I wouldn't call it innovative, but quality in execution. The sunshafts and lighting stand out as one of the greater elements of the aesthetics, with Studio Deen proving themselves a skilled studio that understands how to build a believable and aesthetic setting.

It's worth nothing that while the animation is great, there are many noticeable moments where you notice sharp improvements in quality. Virtually all of Megumin's casts of her explosion magic were well designed and quite mesmerizing even, each their own isolated performance of devastation. Further, the animators put more effort into animating the breasts than some studios do for entire series. Honestly, the jiggle physics are unreal, borderline hyperbolic at times, and easily one of the best parts of the animation.

Sound

I can't really say that the soundtrack from Konosuba is a memorable one, but it has its merits. A few of the background tracks were inspired heavily by the fantasy setting, and those were certainly the best ones. Both the opening and ending pieces are well made and very character-centric, introducing and concluding the exciting world of Konosuba proficiently. Really, the only noticeable detriment of the music is that it can get repetitive at times, with Darkness' track coming to mind as it played each time she had one of her masochistic monologues (and these are often).

The seiyuu are fantastic, and I give particular credit to Kazuma and Megumin for their outstanding performances. Jun Fukushima (Kazuma) nails the youthful, sarcastic teenage boy voice with Megumin (Rie Takahashi) acting with the proper attitude and spunk befitting a "crimson demon".

Characters

Just like a great roleplaying game, a great fantasy anime needs a well-rounded cast of unique, individual members. For the most part, I would say Konosuba achieved this, though certain characters leave more to be desired in some ways.

Kazuma, the adventurer, is the most grounded character of the four, the only human from Earth. Aqua describes him, quite accurately, as a shut-in NEET, since in his former life he was an avid gamer and fairly introverted. I found him to be the most relatable character, offering realistic (and often humorous) perspectives about the various insane situations he and his party find themselves in. Characters can often get predictable within their given genres, and Kazuma offers spontaneous dialogue that greatly challenges those expectations. A good example of this would be, despite being accompanied by some considerably attractive companions, he never fawns over them like you'd expect a character in his position to do. Rather, quite the contrary, as he is often irritated by their presence considering their uselessness at times. Kazuma experiences the most growth throughout the series, as the "shut-in NEET" we once knew him to be dies off slightly as he assumes more and more responsibility. I guess sleeping in the stables for weeks on end will spur a man to action.

Aqua, the arch priest, is a beautiful yet pretentious goddess of water that enforced Kazuma's reincarnation. While she is inherently powerful, she's not very bright, ironic as she considers herself above humans. She relies a lot on Kazuma for money, generally spending what she has either learning party tricks or drinking at the guild. Though irritating at times, there are many genuine moments where the viewer can grow to appreciate Aqua, and her attitudes towards Kazuma and humanity overall change slightly over the course of the series.

Megumin, the arch wizard, serves as the party mage and is easily the most likable of the three. A crimson demon herself, beings of great magical power with chūnibyō personalities, she specializes entirely in destructive explosive spell, the most powerful magic known to man (though she can only cast one per day before draining all of her power). Personally, Megumin is the best party member of the crew, and ends up having some of the more hilarious interactions with Kazuma.

Darkness, the crusader, is a masochistic, oddly perverted champion of justice. She expresses a great deal of dedication and honor, holding the values of being a "knight" close to her heart. As her primary disadvantage is that she is clumsy and can't even hit a stationary target, she chooses instead to be a shield for her friends, though much to her enjoyment as she finds sexual excitement in the idea of taking a beating. She is the most underdeveloped of the four, though you can see glimpses of potential in her character towards the end of the season. I assume because of specific revelations that she will be further explored in the future, which is great because she's such a sweetheart.

Unfortunately, there is no sort of backstory for either of the characters that isn't revealed throughout dialogue. As someone that prioritizes the merit of the characters above all else, this somewhat bothers me, especially considering the immense potential for the lot of them. While the next season may focus more on the identities of each adventurer, I'm reviewing the current season as-is, and it falls short in this particular regard.

Fortunately, one thing the writers can be heavily credited with was their intention to not make the protagonists overpowered at the start. In fact, to the contrary, the party is at a severe disadvantage throughout the series due to their respective disadvantages and low experience. For example, in the second episode, we find both Kazuma and Aqua nearly overwhelmed with what seems to be an easy quest objective in slaying giant toads. As time progresses, everyone gets stronger, most certainly, but they still never reach a point where an action is trivial. This stylistic decision can be attributed to real life relevancy, as I'm sure that many of us have understood the despair of having friends play with you but be complete and utter garbage. I also assume this is to build up for the subsequent season(s) the series will receive, where the characters will inevitably get strong enough to confront the Demon King. Witnessing the slow, even painful growth of a group of characters generally wins out over having them grossly empowered at the start.

Conclusion

Konosuba retains an extremely loyal fanbase, and I can see why. It's got charm, character, presents itself as a fun series that doesn't try to be anything other than that. I finished Konosuba in one day while going into it with low expectations. Under no circumstance is it, as I have seen it heralded, "the saviour of anime", but if you find the concept appealing and Kazuma relatable, expect to conclude it satisfied. If the writers can iron out some of the pacing issues and give more attention to each character individually, I have no doubts that Season 2 make a quality series even better. With that being said, is Konosuba God's blessing on this wonderful world? That'll be up to you to decide.

"Come, now, and walk the path of explosions with me!" -Megumin