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Aug 9, 2020
Kurayami Dance is one of the most unique mangas I've ever read. It feels like someone's personality in both text and drawing are imbued into every page of this 2-volume story. It's one of my favorites not just because of the witty dialogue or the stunning art (which is what hooked me in the beginning), but also the concepts that, although seemingly distant from each other, are all closely aligned.
Premise: Wataru Kaido is an undertaker by day, motorcyclist at night, and in chapter 1 he seeks to go past 300 miles per hour on the mountain roads because he's "in a rush to live."
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After passing 300 and seeing the all-encompassing red, he crashes (violently). He wakes up from his coma 2 years later into a world slightly different than what he remembers: a new leader, and a weird inner demon companion. After quickly getting used to it he takes a job to take care of a death in the Kurogane Kingdom, running into interesting persons and crooked countries along the way who make him question whether he was in a rush to live or to die, and what the true value of life and death really is.
Story: 10/10
I'll be honest: I don't think that there is much to "get" or to understand beyond the central theme of life and death, and I don't think it's really supposed to make complete sense. But it's all completely enjoyable and in my opinion, I wouldn't have it any other way.
The story reads out as some sort of bizarre dream by the part of "Kamikaze" Wataru, in which disjointed events happen one after another, and the reality of these events are so often called into question... No really, Wataru often asks the people around him "did that just happen?" to which they say "No, the event ____ in which ____ certainly did/did not just happen." The dialogue amuses me so often I forget just how dark many of the themes are. The dialogue sounds very different from other mangas because of the way that the characters are all so blunt and sometimes rude, as opposed to common Japanese manga where there are certain cultural aspects in place and everyone is respectful. But it adds to the clarity of the story because kind of like the art style, things move forward in crisp black-and-white. I suppose this is a lucky combination of the manga setting (not modern Japan), the translator work (which is aMAzing), and of course Suda51's writing skills.
Speaking of Suda51, I did some research to find that this was based on the initial story script of the video game Shadows of the Damned, originally named Kurayami. Apparently he's a really famous dude. Kurayami Dance honestly reads as some sort of passion project, just for Suda51, as it's peppered by references to other things he's worked on (for no apparent reason) as well as video game suggestions, actor names, and songs interwoven into the dialogue. It fits as a weird kind of banter. Since Kurayami Dance was so good, perhaps it would be worth looking into his other works.
Art: 10/10
The art actually captured me more than anything else in Kurayami Dance. Just like everything else, it is very UNIQUE. The lines are super smooth and the panels are defined in black and white strictly with few gray tones in addition. Each page looks like a work of art, like an intricate linocut stamp. Additionally, the perspective work of Takeya Syuji is CRAZY. Surroundings are extremely stylized as they warp and wind, some things elongate or squeeze in satisfying monochrome. It's like nothing I've ever seen before. You would expect a manga about death to be more sorrowful, but the way it is presented so cleanly completely fits the message that Kurayami Dance delivers.
I really hope that Takeya Syuji draws more manga. I would absolutely love to see what else he makes. I hope he becomes very popular in the future.
Characters: 10/10
I suppose the only character I could really analyze is Wataru "Kamikaze" Kaido. He's very nicely personified as a blunt man who quickly accepts the things around him as reality, never seeming to struggle with self-doubt or turmoil. The conversations he has with his companion Challia tell a lot about the kind of person he is, in addition to also being super enjoyable. I remember the one scene where they just chilled at the Union Hotel bowling, and then played Uno all night long. No that's not a fever dream, that's really in the manga.
The character design is awesome. There's a startling simplicity in all the characters yet so much uniqueness to all of them. They are made of simple shapes and the bare minimum of lines, yet they feel so deliberately placed that overall it feels intricately beautiful.
Enjoyment: 10/10
Don't tell me you can't see how much I enjoyed this manga. This is the kind of manga you can stare at the panels for a long time and be swept away by the coolness, or reread dialogue for the fifth time and still get a kick out of it. I know I do.
Overall: 10/10
Funny, witty, but also strangely deep, but most of all super unique.
A great example of "showing" rather than "telling," we learn about everything just by going along with the ride. Kurayami Dance is less something to take in and more something to be taken away by. Thank you anyone who read this far into my review, and I very much hope you pick up Kurayami Dance.
Reviewer’s Rating: 10
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Aug 1, 2020
You could say that this manga is the combination of the delinquents genre and the concept of time travel, all in one: an unlikely combo which end up working beautifully. It is also about friendship, total bromanship, and the thick ties that connect these guys that go through fights and hardship together. Don't just read the manga synopsis and decide not to read this, it is much MUCH deeper than it so implies.
Story: 10/10
Wakui Ken has set in place a very solid story structure within Tokyo Revengers that continues to carry the plot at a steady cadence, never letting it fall into monotony. There
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is always a direction, and Hanagaki always has a motive, or many motives at once. Although Hanagaki may know the possible outcome of an event, doesn't mean it'll always end that way and it doesn't mean he knows how things got to that point. The two timelines of the past and the future are comparably interesting for different reasons. Every time Hanagaki travels to the past he has a motive and a plan in order to fix the future, and every time he travels to the future he has an expectation and a hope that his actions in the past changed something. However the twist is that whenever he leaps, the past's plans and the future's expectations get turned on their head and he finds himself in a situation he never prepared for. This is what carries the character development of Hanagaki, and in turn the rest of the story. It's honestly a really clever setup, and I really thank Wakui Ken for using it so perfectly.
Also in Tokyo Revengers is a substantial amount of worldbuilding, but it's not really the kind that you might think. It's more like characterization, for the sake of giving the story more depth and weight. Wakui Ken builds up and develops the childhoods of these delinquents and the past histories that they have with each other. Honestly, I did not expect such heartfelt insight in a delinquent manga, but here I am caring a lot about this delinquent who runs a sewing club and the other who has a tough home life. The relationships between delinquents is fully fleshed out: you know who's best buddies and and you see it and you know it. You also get to see a lot of their families. The relationships between close people and the divisions between others is centrally what drives the push and flow of conflict.
Art: 10/10
The art is awesome. Each character has a very distinct character design; the shape of the face, the pupils, the hair texture, everything. It's quite crazy how detailed things can get. What I found to be especially remarkable is how the characters, who are drawn at different points in their lives (10 y/o, 14 y/o, 26 y/o) still look like the same person even their hair or their body structure is changed. Each of them are their own person, and Wakui Ken makes sure to assert this not only through their dialogue or actions, but through their appearances. I especially like how Mikey, Draken, and Hakkai look.
Character: 10/10
This might be the best part of Tokyo Revengers out of all. If the crux of a delinquent manga is disagreements between people, the people have got to be pretty interesting right? Well they're pretty damn interesting here. The personalities of these characters that Wakui Ken makes are incredibly nuanced and strangely subliminally complex. No-one is completely good or completely bad, and everyone is fallible to some degree. We not only get to see them at their greatest moments, like in beating up several enemies at once, but also in the worst moments of loss and heartbreak. We get glimpses into their pasts (as well as their possible futures!) and understand how they've become what they've become and why. And then, seeing how they change in reaction to Hanagaki's intervention, and watching as Hanagaki becomes the catalyst and the key, is an experience in itself. This is a breath of fresh air from other stories, in which the corruption of the self/mind is never even considered although it's something that everyone goes through in their lives. The honest conversation and the down-to-earth realness and imperfection that is simply human, that other mangakas might gloss over by explanation of creative liberty, are displayed in the forefront unabashedly.
Now, I have heard so many times that Hanagaki is a wuss, and that he sucks, and that's why someone dropped this manga. NO! The POINT is that although Hanagaki may not be the best fighter, and he may not be the most cunning, he has the most heart and he never gives up. In a way, Hanagaki is the foil to literally everyone around him. Surrounded by all these strong people, he, the weakest of them all, is just as great and perhaps greater, because he has chosen to make a change.
Enjoyment: 10/10
I enjoyed this very much. I love the pacing of Tokyo Revengers, first of all. The chapters are long and detailed, and multiple things happen in every chapter (which can be a tall order for many mangas). It's strange to think, but I like all the characters, no matter if they're good or bad and no matter what things they've done, because first and foremost they are portrayed as people with their own problems. I feel like if a mangaka has done that, they've effectively succeeded in creating an immersive work.
But as always, I end up with questions concerning the stability of the plot that I don't think have been answered. I don't think there are spoilers here beyond maybe the second chapter. How does Naoto always know when the timeline has changed? Shouldn't his memory also be altered when Hanagaki moves back and forth? What happens to Hanagaki in the past when Hanagaki moves to the future? What if he goes to the future or past while the other one is sleeping? And most importantly, Why, when Naoto shook Hanagaki's hand once, he immediately deduced that Hanagaki could move exactly 12 years into the past or future with a handshake, and specifically and only his? This is a strange assumption, because there could have been so many other factors going into this but they assumed something unlikely which became the premise for the entire manga. (which is still a good premise just not explained thoroughly).
Overall: 10/10
Yeah I know, 10/10 for all? Damn, that's pretty good. I'm not sure if you could call it a favorite of mine, since I'm not really thinking about this every day of the week, but it is pretty damn good. I don't think there's much that could be improved in Tokyo Revengers. It hits every beat on the mark, and exceeds in places where other mangas couldn't even wish to meet, whether out of ignorance or inability. I'm sure if you read this, you will have a wonderful time.
I heard this manga is getting an anime next year. I look forward to the next wave of fans who will discover Tokyo Revengers!
I will leave a few warnings here because I want anyone who starts reading to please not drop it.
- There are a lot of names. They're pretty unique, but they are thrown around in dialogue often so please don't forget them.
- Hanagaki is not a bad MC! He actually is pretty badass sometimes, and if you don't believe me just look at how integral he is in swaying the plot and the people. He can also fight for himself pretty well, it's just that he's being compared to insanely strong people.
- I think that the first / first few chapters may discourage some people. Please push through those! The Hanagaki that you see in the first chapter will never be seen again, and that's an ode to character development if I've even seen it.
Reviewer’s Rating: 10
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Jul 22, 2020
NO spoilers : )
Premise: Fudatsuki Kenji has to constantly care for his younger vampire-like sister, scaring away all people around her (protecting them from her), while also acting as her daily blood bank. During their time in high school they run into romantic hijinks (with other people of course) as well as realize their special familial bond.
Fudatsuki no Kyouko-chan attempts to fit into a specific popular genre of "episodic, infinitely repeating, and comical expressions of love or understanding between people who will never admit their feelings until the last chapter," instead of something deeper and perhaps more controversial like what the premise promises.
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It rather successfully filled that genre. However, in my opinion, the premise had so much more potential, all of which was lost to what it is now. Now don't get me wrong, this manga is *cute as fuck*. But there was just as much wrong with it as went right.
Story: 6/10
In pursuit of becoming an infinite slice of life/comedy/romance "wow that's super cute look how wholesome it is" it becomes a "you don't need plot or anything, that's too heavy, also throw out continuity too" because of how much promise it had in the beginning but had to shave off and how many possibly heavier themes it could have covered but would have not fit its designated cheery atmosphere. I know I keep talking about the premise but it is just that important.
Many questions invariably arise... which would be VERY interesting to flesh out, but never are. What about his and her family? Can't she wear her hair in a more secure way? What is the origin of the ribbon as a talisman? How did they get by in the past as children? Why doesn't daily blood sucking result in any neck scarring? How does Kyouko cook great food if she can't consume human food without feeling sick? Instead we are treated to some 37 chapters of ribbon-on/ribbon-off tsundere act. Ad infinitum. The romance premises were extremely endearing, but all plot points met long-delayed yet abrupt and unsatisfactory resolutions.
--> My biggest observation: this story was never about hiding her true identity as a vampire or protecting other people from her (like the premise would have you think). That would be too interesting. The "danger" or "jeopardy" is not placed on something like being discovered, it is placed on shallow romantic relations and misunderstandings.
The story had a ridiculous amount of potential. Too bad it threw it all away.
Art: 8/10
The art is great. All the character designs are endearing. Everyone's appearances are very distinct.
Character: 5/10
The main sibling pair Kenji and Kyouko are very endearing. Kenji is the most fleshed out, and his personality is evidenced to be a product of the environment he's forced himself to mature quickly in. Kyouko has a nice character design, but her entire role in this story could be summed up with the ribbon-on/ribbon-off gag/act.
A specific few side characters are evidenced to be incapable of human cognition and reasoning.
The characters are all exactly what the author wants them to be: simple and distinct. There is no depth to any of the characters, since I infer they're not meant to be seen as three-dimensional people. However it could have been very different. By the author's vision though it serves its purpose well, so I won't stir anything more.
Enjoyment: 6/10
What was VERY enjoyable: the setting-up of premises! The jeopardy of the situations the author puts these characters in are genius. It makes me look forward to what will happen next.
What was NOT enjoyable: being strung along and bullshitted until the end of the manga because the author just had to have some limbo in place to keep things barely interesting.
Overall: 6/10
This manga was the feeling of someone telling you about a great amusement park, then arriving to be met with a botanical park. It's a nice park with nice flowers, but it's not what you told me. This is NOT supernatural or drama or even comedy, it is tease escapism-romance which is concentrated on selling well to a large casual audience. I should not have expected so much out of Fudatsuki no Kyouko-chan. It became increasingly more difficult to read as time went on because I kept losing hope (and interest). If you like this genre I suggest you read it, but only until you feel numbed with disappointment.
Reviewer’s Rating: 6
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Jul 12, 2020
This was a train wreck of a show. Nihon Chinbotsu 2020 has about a hundred natural disaster movies and series already existing at its disposal to examine and improve off of, but somehow it is astronomically worse than any other I've seen.
Story: 6/10
I can see how the plot is supposed to progress: new people join the group while other people are picked off (wow, who next??) and die in relatively unique ways. They progress through sinking Japan trying to find their way out. Except what is the end goal? I understand that in real life it would be difficult to have an objective other
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than "survive," but the goal feels like it keeps changing. Often the show itself feels confused as to what it's trying to say so it just glosses over things and hopes the audience fills in the holes for them. I like the circumstances that they have play out, but the pacing is so atrocious they don't give enough time to support the most important moments, and elongate the most banal ones. It seems the way they choose which parts to stretch out are the scenes where the frames are completely twice-thrice reusable.
Furthermore, I can't tell if they're trying to be believable or not. Apparently, according to this series, supposedly, super powers exists (but only for one person), THREE groups of people who are split on the open ocean can find each other in a short period of time, serious injuries don't affect you if you just don't mention them, and oh yeah... TANKS are easy to find, and it's a good idea to swim underwater with a paralyzed man on your chest (and expect him to live). But, you know, by the end of it we're supposed to have felt like we went through something amazing and teachable. Better luck next time.
Art: 3/10
Actually terrible. I understand these aren't your most conventional characters, but it's actually unbelievable how dirty they've done them. When I started Nihon Chinbotsu 2020 I kept trying to convince myself that I saw Masaaki Yuasa's spark here or there, but by the end of the second I stopped trying. Characters don't react if something happens next to them. The in-betweening is atrocious. Eyes are pointing the wrong way. The most jarring and unsightly problem, is that the people themselves, their very skin, looks like it's literally falling off. Everyone looks WRINKLY. A good number of characters are given extra wrinkles on their chins. That's fine I guess, maybe it's the character design, but NO. It gets worse. Often the limbs are super thick and wrists, elbow bends, knee bends are made to look wrinkly almost like they're drawn as clothes. This is especially noticeable in the life raft scene. Why do this? Why?
Sound: 3/10
The music is incredibly uplifting and is meant to give the sense that living on and struggling is worth it because the future or something. You know, maybe you like the music. MAYBE. That doesn't forgive the fact that it's played at the worst times. Ever. Did a major character die? Maybe we should start playing music now. Did many people die as a result of this one event? Play uplifting music to ignore that fact and instead be grateful you're alive. The only time the music lined up with the visuals is at the very end, the only place it could ever fit.
Characters: 6/10
The characters in this series are like a two-edged sword. None of them are very three-dimensional. The only three-dimensionality of their characters' personalities is very on-the-nose, and that's only because their cast is so diverse. The characters for the most part are very easy to tell apart, and some of them are very likeable.
Enjoyment: 5/10
I can't say I'd rate it less than a 5 because one, I watched it all the way through, and two, the atrocious parts were still entertaining to watch. I would not consider this a legitimate show to get invested in though.
So bad it's funny:
Some scenes deal with intense weather conditions. Peoples' faces get scrunched up in disgusting ways that cannot possibly be drawn by a professional animator. They look like trace-overs of that one Tom Cruise meme. If you pause at the right moment I expect you'd fall over laughing.
There are other languages used in this series. Mainly English. The English is really bad. It sounds like it came straight out of Dora the Explorer, but with that special Japanese twang to it. The phrases they say too make me think the translator of this thought it was satire. "Oh No!" "You Can't Be Serious!" "Hasta La Vista Baby!"
Overall: 4/10
This is a shitshow. If you want something lighthearted, this is it at times but mostly is not. If you want something heavyhearted, this is it also sometimes but mostly not. While the situations and circumstances proposed are very interesting, none of the highs or lows have any sort of impact. The only time it got a real reaction out of me was when something was executed badly, and this was relatively often.
Reviewer’s Rating: 4
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Jun 12, 2020
Kujira no Chouyaku is the embodiment of what can only be described as a peace of mind. Based on a children's book also by Tamura Shigeru, Kujira no Chouyaku focuses on the leap of a single whale through the glassy ocean and the memories it stirs up of people who witness this special event.
As per the English title (Glassy Ocean) this world's ocean is glass; people traverse the wavy glass landscape while fish still swim underfoot and glass marbles float around in the sky. If you think about it too hard, it seems more like an apocalyptic world rather than a peaceful place, but
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it still builds a world through the different stories told that really makes you say, "I want to go there," and experience the serenity that the many characters reminisce about.
The pacing and the voice acting are all outstanding to me. The visual are beautiful while simplistic, and the color scheme (black and white plus gradients of cool tones) sets the mood for the entire movie. The waves depicted in Kujira no Chouyaku are rendered in 3D when 3D was barely a thing while the rest is drawn digitally (I believe), so it is really an avante-garde piece.
However, what stood out most to me was the music, written by Utollo Teshikai (AKA Hiroshi Ogasawara). There's something very atmospheric in his music and melody that fits the visual perfectly. The mood conveys something dreamy and worry-free that is very unlike other media then or today.
As you can tell by now, I really enjoy Kujira no Chouyaki. It's admirable because it's not delivering something popular or something that will get attention, but communicating a feeling, and it's pretty damn good at it. I really hope you consider watching this masterpiece of a movie.
Reviewer’s Rating: 10
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Jun 7, 2020
Trigun: Badlands Rumble is a patchwork of scenarios from the main series, portrayed in the trademark (or overused, as some might say) story progression of the Trigun franchise. While trying to appeal to the Trigun aesthetic they completely miss the mark about what Trigun was really about.
SPOILERS AHEAD!
Story:
Admittedly, I don't hate when a story is predictable. Sometimes it's nice to get riled up over expecting something to happen, then being satisfied when it finally happens. What really makes me mad, though, is when the writers pull something out of their ass so astronomically bullshitted (Main cast getting all sad over a VERY important character
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"dying") and expecting us as the audience to buy in.
Furthermore, I can tell that the writers tried to make the movie feel like it was important by trying to say that it had an impact on Vash as a person, by tying in some moral about "casting dice" and accepting whatever decisions you've done in the past. However, by the end of the movie I could tell that this lesson did not help in any way to contradict Vash's extremely flawed pacifist ideology. In fact, it fueled it, which is the exact opposite of the message the original show was trying to deliver.
The movie reuses old gags from the series which were used to introduce who the characters were, but it was extremely lazily done. My examples:
Vash playing with the local kids to show "he's not such a bad guy."
Milly getting hit on, and then dropping her huge gun, scaring the guys trying to hit on her.
Wolfwood getting stranded somewhere in the desert to portray him initially as a klutz.
Art:
The art was above average, and the smoothness was especially impressive. However the professionalism didn't allow for the spunky facial expressions that the series allowed, but it's a fair trade-off for me.
This movie also featured a good amount of CGI. This is the GOOD kind of CGI, and it was never intrusive at all while delivering a lot of visual information.
Sound:
Good, some scenes have no music which I felt was a loss but it must have been silent for a reason... right?
Characters:
ALL of the characters were really done dirty here.
Vash is characterized in the show as: a really nice dude, who beats the bad guys without killing anyone. However, here is a man who keeps following a woman around after she almost just got assaulted by a bunch of men, figuring out her name without her permission by peeking at the inn roster, and giving her rashes by touching her hand and face after she told him she had an allergy. It's very upsetting to say the least. They try to pawn it off as endearing, but it's really not.
Every other character is a cookie cutter archetype of the role they are supposed to fulfill and the person they are in the original series. You'll find out if you watch the movie.
The interactions between characters, however, is what really broke it for me. These characters should have history with each other (assuming Badlands Rumble occurs sometime in the duration of the original Trigun series), and treat each other in specific ways. However, in Badlands Rumble they simply acknowledge each others' existence while repeating some of their catchphrase lines.
Enjoyment/Overall:
This movie was enjoyable. Even when knowing entirely what to expect, or expecting something and being disappointed by how it's been executed, it was enjoyable.
If you've seen the original story, just expect a lot of Deja Vu.
Reviewer’s Rating: 7
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Mar 29, 2020
Synopsis:
Blood-C is about Kisaragi Saya, a second-year high schooler who lives in a quiet town, who is a shrine maiden, being a cute moe blob by day but a badass katana wielder by night. She is protective of those she loves and fights against the monsters "Elder Bruins" at night in order to keep them safe.
Characters:
Saya, honestly, was hard to watch at times, but as a moe blob she was alright. I think her redeeming characteristic, honestly, was her character design; I love it. She looks awesome. Now onto the next characters: They're nice cliches and all, but their character development is
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very shallow. When the makers of this anime tried to add motivations to certain characters, it was less about making them sound like actual people and more like making them easier for the watcher to like or hate. Just point out characters and I could say "good guy" or "bad guy" and that would be fact. However, this is a coming of age story, and the coming of age story is Saya growing to become more than she was at the beginning of the first episode. If you like to see 180 degree character transformations, this may be the anime for you.
Story:
You have to be patient with this anime. The first few episodes are building the premise, and the rest is molding your perceptions of what you thought the premise was. As I was watching, I kept noticing gaping plot holes, which completely broke the realism of the story. There were also red flags, too many to be in any sort of show. I was taking this all in mind but I kept watching because, honestly, I thought this anime was a big joke. If a more expectant person watched this, however, I expect that they might be a little more than pissed. Maybe even drop it. However, I implore anyone that begins Blood-C to stay until the end. If you're patient, all (okay, almost all) of your questions will be answered, but they might not be the answers that you expect at all.
Art:
The characters look great; everything else, not so much. It combines an almost blinding amount of common town-in-the-middle-of-nowhere-where-everyone-is-good-friends kind of color scheme with an often dark scene or premise. I know this is a type of artistic contrast made often in moe-horror shows, but this one was done pretty horribly; laughably even in many scenes. Especially gory scenes, or scenes with monsters were just kind of ridiculous, and purposely failing to set up the atmosphere to fit the scene is not very acceptable. Personally, I thought the bloody scenes were also kind of ridiculous; Saya uses a certain kind of ending attack so often it feels like a gag, but you just might like it. Also, the monsters look very stupid. end quote.
Sound:
All I could think when I heard this one track was that it sounded eerily like a track from D-Grayman. It's pretty distracting but apart from that it was not memorable at all.
Enjoyment:
The only thing that made me think "oh that's cool" is the art. Every character looks sufficiently distinct, especially Saya, who, as I mentioned before, looks totally badass both in daytime and nighttime form. Pretty much everything else I kind of face-palmed at. Every "oh my gosh!" kind of plot twist or reveal I saw from miles and miles away, although it might not be that way for you. Even when they make everything right by the end, the answer to everything I found to be very weak. AKA it was frustrating as a serious watcher, and barely enjoyable as a casual watcher.
Overall:
A 6/10. Not too great but at least it told the whole story by the end.
My tips for watching (if you do):
-Please be patient with Saya. She's a huge blockhead and can't think at times, but she's protagonist-number-one, so you better get used to her.
-Watch closely and don't disregard things, because although a lot of things that happen feel out of place, they point to the final answer at the end of the tunnel.
Reviewer’s Rating: 6
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