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This film deserves to be acknowledged alongside Isao Takahata’s “Grave of the Fireflies” as another important depiction of war through a child’s eyes. It shares the same kind of lost innocence that Takahata tackled in his own depiction of World War 2 and that Nobuhiko Obayashi (“House”, “Hanagatami”) also oriented his films around. It’s a reality that I hope future generations will never have to experience. In “Kayoko’s Diary”, the titular heroine is just one face out of millions, but her story remains just as important.

Kayoko is the youngest in a family of seven that’s soon to be a family of eight because of the ... pregnancy of her mother. She also happens to be the only girl out of her siblings (composed of three brothers), but that doesn’t stop her from being close to each of them. She’s a child just like any other child – she’s scared of her strict grandmother and is noted to be a “mama’s girl”. She also cries easily. Her innocence is weighted through the ways in which she stands up for her country with the kind of childlike eyes that haven’t yet processed grief. The film is set in the 1940s after all, a time in which World War 2 was in the air and was just about to reach its climax, a climax that will reach Kayoko’s hometown.

Before that, Director Seiji Arihara is more concerned with breathing life into his characters. He does so by giving this film a slice-of-life aesthetic that’s important to digest. The entire film is actually a collection of memories narrated by an older version of Kayoko. On one occasion, we see her being bullied by another kid whose parents constantly argue with each other. On another, she celebrates her birthday with her family. She even innocently proclaims at one point that she wants to be a nurse in order to help with the war effort that’s looming in the background.

We also get glimmers of Kayoko’s siblings – one of them loves books and science, the oldest is being taught to inherit the family business, and another is a rambunctious individual who encourages Kayoko to never let herself be picked on by bullies. These children have futures, and they don’t know any better than to chant “Banzai!” in the face of their country’s growing interactions with America and England.

When the film is brutal, Arihara conveys that with devastating imagery that looks you directly in the eyes and says “This is what I am, and this is what I could be again”. Even before the war reaches Kayoko, the film understands maturity. It adopts a sort of coming-of-age story, one which helps us understand who Kayoko is and what she means not just as an individual but as a representation of a generation.

Arihara handles both Kayoko’s internal conflicts as well as the comforting dynamics of her family, and he emphasizes this scenic life in order to convey just how tragic war is. When the film hits, it hits with such brazen emotion. It’s a bittersweet portrait of two worlds: an image of innocence and its deterioration. Loss.

It comes in many forms; the loss of your loved ones, your future, your childhood. A world of promise that’s stripped away from you at a young age. It’s such a shame that “Kayoko’s Diary” never received the attention that “Grave of the Fireflies” did because it’s just as significant in the land of child perspectives. It actually serves as the antithesis to “Grave of the Fireflies” despite initially showing bleak worldviews. It may have burned the innocence of its heroine to the ground, but it also knows hope.

“Kayoko’s Diary” chooses to show kindness in the face of tragedy. Arihara paints a picture of the unalterable complexities of fate but also lends a guiding hand. He guides Kayoko into hardening her resolve. The film, and the people behind it, truly care about her. They care about Kayoko and the millions of children who were Kayoko.

Clearly an audiovisual feast. The worldbuilding is densely characterized through the film's darker themes as well as its optimistic reassurance. There are detailed portraits of lush and vibrant landscapes. And then there is the sorrowful depiction of conflict, brushed with lifeless nature and the seemingly endless and harmful cycle of the human condition. Characters are not defined by the archetypal images of "good" and "evil"; they are defined through their characteristics. Not everything is black and white, and there is a level of nuance in regards to their intentions.

Even so, the characterization shown isn't always bestowed its much-needed focus despite how well the film tries ... to; that applies to the story as well. There is a lack of narrative focus, with pieces of the plot and its characters scattered and sporadically told. There is commentary on the preservation of nature, the destructive chaos of conflict, the cyclical persistence of hate, the evolution of weapons, anti-imperialism, and anti-industrialization. The actual depth given to these messages is unbalanced and sometimes drastic. The film is ambitious and maybe a little too much. The ending grants an optimistic view which is nice, though it's more carried through the film's visuals rather than through the punch of its narrative. The film's imaginative quality can only do so much in minimizing its shortcomings.

Still, no one can deny the enveloping artistry depicted in Princess Mononoke. This is a film on the darker spectrum of Miyazaki's repertoire but is still imbued with his optimistic vision. Add to that the magically endearing score from Joe Hisaishi and you get a truly captivating experience.

Franken Fran is a dark-comedy manga with lots of gore. If you don’t like gore, then this manga is going to disturb you extremely. However, if you’re like me who absolutely loves looking at dismembered limbs and eye-catching grotesqueries, then you’re going to have a fun time with this. In a way, this manga is sort of like a toned-down version of the world of eroguro. It’s much more “polished” and less “raw” than guro works but still contains the organs, the dismemberment, and the bloody circus of acts that is present in eroguro. It's more creative in its approach through its diverse collection of ... individual stories, and there are certain chapters where the style of comedy and art feel reminiscent of Shintaro Kago’s (another eroguro artist known for his surreal illustrations) own motifs.

The thing about Franken Fran is its lack of consistency. Franken Fran is structured in an episodic way, with the titular main character Fran Madaraki going through different scenarios throughout the course of the manga. Thus, there are chapters that are brilliant, from the insect chapters to the stories with human multiplication. And then, there are chapters that are not as interesting and even some that pale in comparison to the rest. Not all of the stories retain the same level of quality. There’s an experimental edge to this manga that lies in the concepts of its individual stories. The author uses the premise of Franken Fran to delve into the components of society and human behavior, and while they’re not the most profound or probing portrayals, the playful nature of the manga contributes an amusing perspective into those things. And if there’s one thing that the manga does extremely well at, it’s in its playful and snarky way of commenting on society.

Franken Fran explores how we perceive physical appearance and attractiveness, delves into the darker side of the entertainment industry, and touches on the everyday life, all to twist these ideas to fit within the comically apathetic attitude of the manga. It’s a kind of dark humor that’s very tongue-in-cheek and makes the manga feel more fresh and fun as a result. The stories can get wild and almost always lead to an undesirable outcome for the characters. That’s what makes it brilliant though as it’s always played off in a darkly comedic manner. It’s playful and snarky in all the right ways.

Franken Fran's stories are able to flourish so well due to its peculiar cast of characters. Fran's unethical ways of "saving" her patients lead to a mixture of disturbing and sometimes even outright terrifying abominations. She’s like the crazy mad scientist except that she actually has good intentions, though it’s not always clear from the way she conjures up solutions. The characters in Franken Fran play off of each rather well, and the people that Fran meets and interacts with with each new story offer a new concept to be explored, whether that be reviving humans, wanting to look more physically attractive, or desiring to attain a new body. Fran’s own eccentricities make for countless humorous moments as she works her doctor role which, more often than not, leads to the opposite of what she envisioned. Fran is the perfect character for a manga like this, and her naivety when it comes to human behavior and her lack of concern for the ethical make for some interesting developments in the realm of science.

And then there’s the artwork.

Franken Fran’s artstyle, especially with certain illustrations, share the same kind of up-in-your-face presentation as Kago’s stuff but with a little more sheen to it. Franken Fran’s art is gross, overblown, and creative. Through the course of the manga, the author manages to impress and maintain the same level of quality of the grotesque depictions of the operations, mutilations, and chaotic bloodbaths. For anyone who loves looking at gore done in cool ways, this is definitely one of those manga where it's fresh all-around, and there’s always something neat with each chapter. Even though there are certainly chapters that are not so interesting, they’re still worth reading for the bloody bits. There are even some surreal illustrations that accompany the more bizarre stories, and they work to add a little more flavor to the manga as a whole.

Franken Fran is the kind of manga for big fans of gore, and it definitely offers more than just that. It may not be the most profound manga or the most consistent, but it’s definitely a worthwhile read for anyone who wants to sit back, relax, and envision themselves as a mad scientist (who also happens to have good intentions).

Blame! is pure science-fiction goodness. It doesn’t contain a coherent story nor does it have the most thorough characterization, but when it comes to creating a unique setting, it does a perfect job. This manga is very much like the sentiment, “a picture is worth a thousand words”. There is very little dialogue and not much exposition. Instead, these elements are replaced by worldbuilding and pure action.

Blame! is a perfect example of how creative and imaginative a science-fiction world can be. Instead of focusing on its societies and individuals, it looks more at the building blocks of the world itself, comprising of massive monoliths and ... structures that stretch out far beyond the human eye can see. The angles, scaling, and shading are all done brilliantly in order to capture the dystopian beauty of the world. The amount of detail is just insane. But while Blame! works to highlight its environment, it also contains various amounts of interesting characters that all contribute to the story. The characters do take more of a backseat, but they are still given proper amounts of characterization.

Blame!’s protagonist is the perfect vessel for a story like this. We can immerse ourselves through his silent journey through endless amounts of steel and beams. It is through his eyes that we are able to get a feel of the bleakness and darkness of the world, and his lack of dialogue allows you to take everything in without needing to really think. Just taking in the sights as if you were there yourself, standing atop those massive platings and pathways. The gothic atmosphere the manga creates is an encaptivating one, and it only highlights how great it is at immersing you in the manga’s environment. The structures and buildings are filled with detail from both afar and near, showing bits and pieces of the world’s history as the protagonist navigates through the robust landscape.

The protagonist also stumbles upon an assortment of machine lifeforms that lead to many action-packed exchanges. The action in Blame! is short and sweet but also come by frequently. The action is consistently amazing, and it ends up being right up my alley. Action within a gothic backdrop is just pure bliss for me. The lack of dialogue within these scenes also makes them more engaging as you can take in the weight of the action without really working your brain all that much. The action is completely unfiltered and comes in short bursts, but its consistency is what makes it loveable.

Blame! is the type of manga that seeks to show rather than tell. It contains a perfect dystopian, science-fiction world with an equally enticing atmosphere. The story is absolute bonkers, but it was also perfect for something like this. The presentation of the story itself was well done, keeping the engagement levels to a high despite its disorientating nature. While Blame! is nowhere near being the pinnacle of storytelling or creating complex characters, it manages to instead be one of the coolest and most fascinating depictions of a science-fiction setting. Blame! oozes style with its cyberpunk dystopia, creating an experience that speaks louder than words.

Masamune reminisces over his late girlfriend. He feels a lot of emotions. Regret. Resent. Hopelessness. These feelings flood his mind, causing him to reconsider everything he’s wanted in his life. He lives on, but he can’t move forward. That is until he meets his daughter, Koharu. Masamune decides to roll the dice with this encounter and together, he and Koharu form a precious bond as they navigate through the world of families. My Girl tells the heartwarming tale of a man trying to become a father and a daughter trying to understand the world of parenthood.

The biggest strength of this manga lies in its benevolent ... view of parenting. Masamune struggles to give the best for his daughter as a single parent while simultaneously wrestling with his own inner conflicts. He’s not a perfect parent. He’s also not a perfect person. He makes mistakes, and he learns from them. That’s what makes him human and very relatable. Even if you have no experience being a parent, it’s still easy to relate to a lot of Masamune’s struggles. We’ve had our own fair share of regrets in life, and it’s something that will stay with us for a long time. We’ve all juggled with loneliness, aimlessness, and the fear of uncertainty. These things are what make Masamune such an endearing character and it also makes his development all the more fulfilling.

Little by little, with the help of the people around him, Masamune learns to become a true father for Koharu. Koharu, on the other hand, attempts to understand her own complicated emotions. She holds a surprising amount of maturity for a girl her age, and she strives to help Masamune in any way she can. Both Masamune and Koharu have lost someone precious to them. In a way, they’re not just family but also kindred spirits. It’s through this similarity that they’re able to support each other on an equal level.

Masamune, while being the grown-up of the two, still has a lot to learn about the complexity of a child’s mind, and he finds himself relying a lot on Koharu in order to find meaning in his own life. Koharu, while striving to move forward, realizes throughout the course of the manga her own desires and ambitions and what she wants for both herself and her father. These conflicts play out naturally, and the way they maneuver through other sides of the parenting spectrum highlights the grounded nature of the manga. The father-and-daughter duo go through loss, regret, and finding the courage to move on. They do so in the most tender way possible, which makes their journey incredibly endearing to read through.

My Girl explores different forms of parenting, through various perspectives and circumstances. The manga addresses divorce, the anxiety of pregnancy, the fear of not being a good enough parent, and it explores these ideas in a responsible way. The manga never strays away from the cold hard truths, creating a sense of melancholy and desolation. But while the manga does have its depressing moments, it also adopts a positive and optimistic outlook on the themes of parenthood. While the bleak reality is there, there is also a sense of hope and happiness that sprout alongside it. The author perfectly conveys the fact that, while challenging, parenting can also be deeply rewarding and satisfying for all parties involved. Having an overtly depressing manga may appeal to the realism, but having a complimentary amount of joy and wonder is also just as realistic.

The manga’s art style greatly compliments the themes and tones of the story. The illustrations give a sense of comfort that emphasizes the story’s fleeting sense of time, creating a unique sense of atmosphere that elicits the feeling of solace. Characters are drawn beautifully, and their facial expressions perfectly convey their own emotions in a delicate manner. The shading and linework are meticulously outlined and illustrated. Things such as a gentle smile or a straight face may seem like simple things, but they elicit deep emotions; pictures are worth a thousand words after all. The author knows exactly how to evoke certain feelings at just the right time with their understanding of these subtle gestures. There are also specific panels and scenes that are just stunning to look at, the scenery evoking a warmth that matches the manga’s tonal direction. The author’s illustrations breathe life into the manga, strengthening its emotional weight and depth.

My Girl presents a profound portrayal of parenting and what it truly means to develop a relationship with your children. It doesn’t shy away from the bleak and fleeting moments of life, but it also accompanies it with positive and optimistic messages that are sincere and genuine. With its endearing cast of characters, its heartfelt style of art, and its mature story, My Girl provides an experience that will leave a touching and long-lasting impression on your soul.

Someone has been murdered in cold-blood. No one knows who did it. Suspects are named, the innocent are in shock. Two quirky individuals, Yuuki and Inga, set out to find out just what is going on.

Un-Go is mystery done right. The mysteries themselves are fairly straightforward, but its execution is where the show really excels in. Un-Go is great at engaging its audience, presenting what may seem like a simple murder mystery into something much more fascinating. The set-ups for these investigations are always gripping, and the music and animation do a great job at making the stories triumph. Un-Go knows perfectly well what it ... wants to convey, and it capitalizes on its strengths in order to realize it. While the execution is straightforward, there are twists and turns along the away that misdirect the audience without giving away too much. These moments are tasteful and add a little more flavor to the mysteries.

Un-Go adopts an episodic structure with different arcs up until its second-half where it ramps up the engine and produces a well-executed mystery in its last arc. Un-Go’s individual stories are pleasantly introduced and conclude nicely, but they are not entirely separated from each other. Each story connects with each other in clever ways, and it gives the anime a much smoother and steady sailing.

The cast of characters in Un-Go are an interesting bunch of individuals; Un-Go doesn’t add much depth to these characters, but their personalities play off each other nicely and the characterization is enough for the show’s concept to be pulled off. Yuuki, the detective of the show, alongside his assistant, Inga, make for an interesting pair. They are fun and enticing enough to follow around, and for what little growth that Yuuki does develop throughout the show’s course, makes his deductions that much more entertaining to witness.

While the anime succeeds in its sole purpose, there are still things that are worth addressing.

Un-Go feels short-lived. There seems to be a lot of material to be explored from its world-building and the philosophical moments the show touches on. There’s also the fact that the show can be pretentious at times, referencing certain aspects about the nature of society which doesn’t amount to much considering how short the show is. Even the recurring themes about the desire for truth feel underutilized for a show that wants to convey these topics a lot. The specific philosophical subjects that are touched on briefly give the anime a nice flavor, but it also gives it potential that it would have benefited from exploring more thoroughly. I would have loved additional content for more interesting detective stories that delve into other facets of society and its relation to the individuals that make it up.

The most apparent issue, however, is Inga’s part in solving these mysteries. It feels cheap, and the series uses a lot of his “abilities” in order to steer the investigation in the main characters’ favor. The ability feels like a gimmick (you’ll know what I mean when you start watching), and it doesn’t help the show at all. The fact that the anime doesn’t explore the background behind this character also makes him feel more out-of-place. There is a prequel movie which apparently does, but the actual show itself could’ve incorporated just the main characters’ past in little doses. The tidbits we do get aren’t enough to give them proper depth.

Un-Go isn’t a special anime by any means. It has its fair share of issues, and while the execution is great, it doesn’t leave much for people to leave it up there alongside the “greats”. That being said, Un-Go never wants to go above and beyond. It knows where its strengths lie and capitalizes on them, producing a perfectly serviceable detective mystery that makes the time well spent. If you want a fun, little mystery show, then Un-Go may very well do the trick.

FLCL Progressive proves that sequels aren’t necessary.

One of Progressive's biggest problems is its lack of nuance. FLCL is known for being a majestic definer of youth and adolescence and the idea of growing up. It interweaves a crazy plot with themes of adolescence which makes for an equally stunning and eloquent look into youth. While Progressive continues with these same themes, it doesn't do a good job at fleshing them out despite its attempts at projecting it over and over again to the viewer. It feels rather artificial and shallow because of how much it clocks you over the head with them, serving as the ... complete opposite of the implicit nature of the original, preferring style over substance. The repetition wouldn't have necessarily been for naught if the show actually went for a newer and refreshing route, but it doesn't, as it chooses to mostly stay on the same path as the original. It ends up being a major weakness of the show as it damages a large portion of its thematic weight and value.

It’s nice to see Haruko back, but there’s something missing. She is still pretty fun to watch, though there isn’t any semblance of her that quite matches her character in the original. The impeccable voice acting and her own quirky habits are lovely to see and hear again, but her usual rambunctious and driven persona is toned down in order to highlight a different side to her. That side is fascinating, especially with the introduction of Jinyu, but the show does a poor job of realizing her inner conflicts. The drama here feels shallow and surface-level, not allowing for any sort of complexity to built be built off of. With that in mind, I still love Haruko and she carries the show by a ton.

Hidomi shares a decent amount of the same characteristics as Mamimi; the lack of ambition, direction, and passion. However, her development as a character is erratic and inconsistent, and it doesn’t leave much of a lasting impression. It’s hard not to compare the characters in Progressive's to the characters in the original because of how much Progressive tries to follow in the same path. This coupled with the lack of proper characterization makes it very hard for us to sympathize and invest in Hidomi and her journey.

The same issues apply to Ide, his character feeling underutilized throughout the show’s course because any semblance of growth is degraded down into something that is superficial and generic. He doesn’t feel fully fleshed out, and his character in itself is dry and boring which unfortunately matches the rest of the cast.

Ide and Hidomi are examples of what could have been, their characters largely feeling strangely underutilized for a show about youth and adolescence. There is some form of development, but they, along with the rest of the cast, don't leave much of a lasting impression and don't accomplish anything that the original already managed to wonderfully encapsulate.

I still have to give praise to the music, though, which is still delightful and fun to listen to. The fight sequences are not as crazy but still manage to be adequate enough, and the music does a good job of elevating these fights into something much more. The constant whack-a-mole with guitars is animated beautifully and wildly, serving as a perfect backseat into entertainment, and the ethereal music contributes a whole lot into that.

FLCL Progressive doesn’t feel like FLCL despite how much it tries to imitate the brand. It lacks its own identity, and it’s because of this lack of personality that makes it lose itself in the end. The themes originally conveyed in the original take a backseat while Progressive chooses to put those themes of youth into the forefront which doesn’t work in its benefit. In the end, FLCL Progressive aims too high but accomplishes too little.

With that being said, I won't stop anyone from checking this show out and there are still parts to get out of it.

"Nothing can happen till you swing the bat."

FLCL is something else entirely. It is a show filled with pure and raw entertainment, from mind-numbing action-packed fights to suggestive and sleazy comedy. It is absurd, it is crazy, and it is for sure something that will leave you scratching your head, especially when you dive head-first into its first episode. It does not seem like the type of show that you could imagine enjoying at first glance if you are not the type to be drawn to the quirky and crazy. But there is something deeper that lies below. At its core, FLCL is a coming-of-age ... story about growing up and adulthood, and these themes are executed wonderfully with a wild and crazy ride through the phases of youth.

FLCL is much more than its craziness, but you do not need to fully understand it when watching it for the first time. In fact, you can enjoy it solely as a piece of entertainment. The show never beats you over the head with its themes, serving perfectly in the background with a rewatch helping in understanding the show a bit better.

The animation is exceptional; the spectacles of experimentation and quirkiness that the show produces are astounding, and it does not hold back in its absurd nature. Its sequences of fights and its sleazy and witty sense of humor feel fresh and endearing. It holds up extremely well despite its age, and its unfiltered style helps in creating its sense of identity. It is undeniably and unapologetically itself, and its style of animation plays a major part in shaping this identity throughout the show’s course.

FLCL is a coming-of-age story at heart, and it is exceptionally portrayed through its amazing characters. Naota's growth as a person through his relationships with Haruko and Mamimi is executed meticulously with elements of the surreal. Haruko and Mamimi themselves are captivating individuals that are much more than first impressions. The characterization that this anime injects blends comfortably alongside the story, creating characters that are easy to like, easy to understand, and easy to relate to which gives the show a stronger sense of personality. Naota’s journey throughout the show is realized in a way that complements its subject matter, and it makes FLCL all the more loveable and unique.

FLCL’s music serves to create the perfect atmosphere and mood for the show, enveloping the show with an oddly nostalgic mood that emphasizes the fleeting notion of youth. The show has a very relaxing and comforting feel to it because of the various songs that play during points of dramatic tension and action. The music makes the show all the more endearing and contributes to the show’s unique sense of self.

FLCL is polarizing and understandably so, but it is genius in the way it incorporates its themes through an erratic and wild story that speaks to many on a personal level. It is a coming-of-age that deals with the notions of growing up and the things that come with it, making it feel real and relatable, and most of all, authentic. FLCL contains a concept that is genius and fun, creating its own unique identity amidst the world of anime and leaving itself as a refreshing and loveable show that I can recommend anyone to watch.

"Shall I grant your wish?"

xxxHOLIC is about a High Schooler named Kimihiro Watanuki who can see spirits. He has been trying to avoid them since forever and what seems to be a normal day of running away from these entities turns into an encounter with the eccentric owner of a shop that grants wishes; that owner being Yuuko Ichihara. This encounter begins Watanuki’s journey into the supernatural, filled with many conflicts that are wrapped around a supernatural layer but are very human at its core.

You see, xxxHOLIC uses its supernatural world to not only give glimpses into Japanese folklore and mythology, but it also uses ... it to tackle very human issues. Themes such as guilt, obsession, and a lack of self-confidence are injected into the anime in meaningful ways. It introduces these ideas in a simplistic fashion and then adds depth to their foundations by allowing them to be explored by Yuuko and Watanuki through the lens of the supernatural. They are fueled by the concept of “wishing”, a concept that Yuuko knows all too well, and it makes the show that much more interesting.

xxxHOLIC takes in an episodic structure, most episodes being portrayed as stand-alone stories that give the reader something new each time. Whether the conflicts be solely supernatural or more on the human side, they are conveyed in a natural manner with an equally natural conclusion. Of course, some stories are better than the others, but the anime does a good job of staying consistent with the quality of these stories by the efforts of its vibrant and colorful cast of characters.

It really is incredible how loveable the show’s cast is and how great the dynamic between their personalities are.

Sporting an entertaining bunch of individuals, ranging from the constantly whining but extremely caring Watanuki to the calm and seemingly aloof Doumeki, one of xxxHOLIC’s biggest strengths is in its quirky characters that have exceptional chemistry with each other which makes even the show’s weaker stories entertaining and engaging. Despite the show’s style of light-hearted comedy, mostly consisting of Watanuki’s complaining regarding Yuuko’s odd tendencies and Doumeki’s nonchalant attitude, it also introduces very mature themes that the characters mix with perfectly as Watanuki learns more about the supernatural and about his own life.

Watanuki and Yuuko’s relationship is a prominent element of xxxHOLIC, and it is also responsible for playing a major part in making the show what it is. Watanuki’s constant complaints are overshadowed by his caring and curious personality and Yuuko’s eccentricities (acting carefree but also showing a grand level of wisdom) provide the perfect source of entertainment and drama. They lay the foundation for a lot of what happens in the show, and they do not disappoint when they get involved.

The music is another strong element of xxxHOLIC as while the soundtrack is rather simple, it is also smooth and nice to listen to. It clearly executes the dramatic points of the show and also does a good job of evoking the emotions that it comes with.

xxxHOLIC’s animation is its weakest part, but even with that in mind, the animation is good enough to emphasise the emotional weight of the show’s themes, and it works well in delivering the comedy and attitudes of its cast. It also does a good job of encapsulating the various tones the show enters in.

xxxHOLIC is a fully entertaining anime that deals with both the supernatural and the human side of its world with a delicate touch through its quirky cast of characters. It works at delving into its mature themes with grace, never reaching too far or finishing too short. Its own supernatural coating lends itself to a lot of interesting endeavors that take you into a neat glimpse into Japanese folklore and myth. It is for these reasons that xxxHOLIC is an anime that I fully recommend you to check out.

"I'm truly sorry."

People can change. A simple theme that Onanie Master Kurosawa manages to delicately capture and portray through a coming of age story that weaves the lives of two social outcasts as they maneuver through school.

Kakeru Kurosawa is a Junior High School Student who masturbates in the girl's bathroom. He is a loner, not wanting to have friends and preferring to keep himself out of any involvement with anyone in his school, even with people who genuinely like him. He adopts a facade of intellectual superiority. Aya Kitahara, on the other hand, is bullied by her classmates to no end. Both find themselves in ... a situation where they wreck havoc among their peers, which leads to a rollercoaster of emotions and drama that is heartbreaking but also optimistic, inspiring change in a genuine way.

Onanie Master Kurosawa chooses to stay grounded with its story, allowing Kurosawa to grow meticulously alongside the happy and sad moments of the manga. The manga is pretty intense, with some chapters leading to triumph, and others leaving the reader with their heart pounding. This is due to how believable the drama is and how Kurosawa and Kitahara themselves are easily sympathisable and empathisable characters. The manga does a great job at connecting the reader to the main characters with the way it conveys the thought processes and mindsets of both of them. It is easy to say that a lot of their deeds are wrong but it is also easy to understand why they are doing the things they are doing. It is clear where they are coming from. They are not perfect characters, and it is exceptionally shown just how ugly their ugly sides are but also how beautiful their growth is as well.

And that is why the redemption of both of these characters is so beautiful. Because it is genuine and sincere, and it does not hold back. Kurosawa's redemption is not something that happens in the blink of an eye. People do not just easily forgive him. He suffers for his actions, and the aftereffects are not easy to overcome. The consequences are perfectly reasonable, and the manga shows that actions do indeed have consequences in a blunt and realistic way. But it also shows that redemption can come if you can endure, and Kurosawa chooses the path filled with thorns for a glorious and extremely satisfying redemption arc.

Kitahara, on the other hand, has a harder time coping with her self-destructive habit of revenge. Not everyone can take the hard path, and Kitahara is one of them. This does not make her pathetic or weak-willed in any way, however, as her background and reasons for being the way she is has already been meticulously established throughout the course of the story. It is easy to sympathise with her own circumstances, not just because of her being a victim of bullying, but also because of the fact that she finds it hard to let go. It is hard to look to a better future, and it is hard to start the change yourself. 

But change inspires change.

Kurosawa's change helps Kitahara to change. Through Kurosawa's redemption comes his desire to help Kitahara overcome her own inner-conflicts. This is all manifested in an authentic way, with Kurosawa's reformed line of thinking pushing through to inspire Kitahara to also take that first step forward. The outcome is sweet and grants a nice sense of closure for her character.

Bullying, revenge, consequences, and change are prominent themes of Onanie Master Kurosawa, and both are conveyed deeply without any bounds. The manga does not shy away from the hard and ugly truths, but it also communicates the idea that there is a lot to hope for from the "outside world" as Kurosawa describes it. Being lonely sucks. Being bullied sucks. Revenge sucks, too, because it only grants a fleeting sense of happiness. These messages are things that one can easily understand. What Onanie Master Kurosawa communicates most, however, is the idea that with change comes true happiness, and the way it conveys this notion is genuine and sincere, leading to a wholesome outcome that grants a wonderful sense of closure for the reader and which also leaves a positive lasting impression.