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This is the OVA for season 1 of Familia Myth. It takes place as Bell and his companions are leaving the 18th floor's Under Resort after the finale.

It's an optional watch as it is geared more toward fanservice than advancing the plot, or at least it is not apparent and can be safely skipped and imagined as something that happened offscreen. (All the monsters they kill in this episode allow them to rack up experience points, so it's not entirely useless.)

It's easy to see why some might not like it. Actually, if you're a regular viewer of ecchi anime, the fanservice here is pretty mild, ... but it can be too hot for its target demographic of young teenagers.

Yamato Mikoto is this episode's highlight because she is the most enthusiastic about getting into a hot spring, and she makes something of a case as to why she could be a waifu.

The direction in the anime is similar to season 1, which means it's pretty much serviceable and nothing too impressive.

If you're pressed for time, you don't need to watch this. But if you're a fan of Familia Myth or like it enough to watch every episode, it's not really that bad. It's just average.

Familia Myth (aka Danmachi aka 'Is it wrong to pick up girls in a dungeon?) is not just a forgettable anime with a long title. It is one of the biggest franchises.

The first season aired in the middle of the previous decade. Does it stand the test of time?


§ Overview

Our protagonist, Bell Cranel, dreams of becoming a great adventurer. At first, he seems to be one of the many nameless adventurers until he meets Aiz Wallenstein, who inspires him to quickly progress.


... § Notes


1. you might initially be tempted to dismiss this as another run-of-the-mill shounen. After all, there's no shortage of shounen anime nowadays featuring dungeons and RPG-style stats.

But by halfway, you will be amazed with the world-building. This anime deals with just a single dungeon, but the floors within this dungeon are ever expansive. There are around 50 floors in this dungeon, and perhaps there are more.

If Magi is a shounen with an expansive world with different empires and dungeons are just one of its elements, Familia Myth focuses on a single dungeon.

I say that Familia Myth is the quintessential dungeon anime. Even with many anime that have dungeons, I don't think anything has surpassed it in terms of the dungeon world-building.


2. Bell's character design is rather generick. In fact, if this anime were released today, his character design wouldn't stand out. (His character must have been the inspiration for Takumi's character design in Possibly the Greatest Alchemist of All Time because of their similar look.) The author's other work, Wistoria, has a much better character design with its protagonist Will Selfort.

Despite that, he is a great character, and he can inspire young boys to do great. You might not like him that much if you're older and hate beta behaviour, but for the target demographic, his character type is typical.

He is a self-insert character to an extent, but I don't think that's a problem. Like I mentioned in another review, if it's logickal and not just for the sake of it, it's not a problem.


3. It features the names of gods and goddesses from Western Mythology; I have seen both Greek and Norse names so far. It's far from being Homer's Iliad, but it functions similarly up to an extent, which is to be inspirational to anyone reading or watching it.


4. A potential criticism is how Bell is overpowered, but I think he is overpowered done right. You don't really feel it as you watch him battle the monsters. There are always enemies that challenge him, and that strikes the balance.


5. Aiz may be Bell's inspiration and love interest, but she is by no means a manic pixie dream girl. On her own, she is capable of greatness. Sadly, this is barely shown in the anime. Good thing, she has her own spin-off story: Sword Oratoria.


§ Conclusion

Overall, it's a solid shounen. For veteran shounen watchers, it might not be the definitive shounen anime, but it's a league of its own if you're talking about dungeon-based shounen.

Kanon (2006) is the second entry to KyoAni's Key Holy Trinity. It is also the second anime adaptation of Kanon after Kanon (2002).


§ Overview

Aizawa Yuuichi is back in this unknown town after seven years. He stays with his cousin and eventually, his memories of the place start coming back.


§ Comparative Review of the Scores and Other Stuff

...
TOEI's Kanon (2002): 6 out of 10

The special Kanon Kazahana: 7 out of 10

KyoAni's Kanon (2006): 7 out of 10

It's interesting to note that Kanon (2002) was for the most part 7 out of 10, but the ending ruined it and made me decide to lower it to 6 out of 10.

On the other hand, Kanon (2006) was mostly 6 out of 10 but certain elements made me decide that it's a 7 out of 10.

One of these elements is the animation and art direction (mostly). KyoAni is the winner hands down, except for character design. I liked TOEI's version most, except for Yuuichi. The 2002 version of Yuuichi looks and sounds like a beta male, the 2006 Yuuichi has swagger.

The musick of 2002 evokes nostalgia and I prefer that.

The great animation of 2006 OP evokes that you are watching something great in the present, although it failed to deliver.


§ Comparison of the Arcs


§§ Ayu's Arc

Ayu's arc in 2002 delivered much emotionality only to be ruined by her 'resurrection' in the following episode.

Ayu's arc in 2006 is theoretically much better, except it doesn't have the emotionality of 2002.


§§ Makoto's Arc

Makoto's arc was handled better in 2002, the very reason I gave Kanon Kazahana a rating of 7 compared to their handling of Ayu's arc.

Makoto's arc in 2006 was ass and had the same problem 2002 had with Ayu's arc but worse.

Props to 2006 though because the real Makoto appeared.


§§ Shiori's Arc


I don't remember much from Shiori's arc, except both are emotional.

There's an interesting framing and composition in 2006 where twice Yuuichi was facing her sister Kaori. One is in the dark, the other in the light, that kind of thing in Episode 16; this composition is reversed in Episode 18.

Although KyoAni can create beautiful anime, the compositions don't call attention to themselves. But when they do call attention, it's quite powerful.

Another interesting aspect is Yuuichi's date with Shiori. You can notice the emotional change that enhanced the mise-en-scène. The foundation becomes larger, and fountains themselves are symbols of renewal, which is reflected in Shiori.


§§ Nayuki's Arc

It is sad and unfortunate that Nayuki was mostly useless in 2006. Even in the supposed emotional moments of her mom's accident, her uselessness in earlier arcs overshadowed her moments there.

She had a better arc in 2002 because, you know, wincest.


§§ Mai's Arc

So far, Kanon (2006) has an inferior handling of the previous girls. How about Mai's arc?

Kanon (2002) felt like an underrated drama, but I thought back then that it gave enough screen time for my girl Mai but a disproportionate screen time for the other girls. I thought 2006 would be different but I was wrong.

Mai had a longer screen time in 2006 and I won't complain. She's my favourite. 2002 omitted a crucial part of Mai's arc that makes you understand why she was doing what she was doing. Basically, Mai is actually a childhood friend of Yuuichi, a fact I only know thanks to 2006.

Plus, her dance scene (https://www.youtube.com/watch?v=z2k-Gbj0Rio&t=220s) with Yuuichi (@ 3:40) is comparable with Fern and Stark's dance in Frieren: https://www.youtube.com/watch?v=9Gc3d05Z288

In 2002, the dance was glossed over. But in 2006, it's something special with some close-ups of Mai's face as she sways under Yuuichi's lead. At that moment, if you ship Yuuichi and Mai, they feel like a couple.

Since 2006 did a much better Mai arc, I can't help but give it a higher score than 2002. I'm that biased for Mai.


§ Other Remarks


1. Don't expect realism from this anime. It's all about the emotional impact. Seriously! Akiko is such a saint if she can't be angry and lets strangers befriending Yuuichi stay in her family's house.


2. I know that KyoAni is well-regarded in terms of beautiful animation. But the two Key Anime I've seen, Air and this anime, have been gorgeous compared to the first season of Haruhi and K-On! I wonder why?


3. Jun Maeda's works are said to be sad. It's an example of how your mileage may vary. It's an overrated aspect that did not move me as much as it should, but others may cry a bucket. It depends.


§ Conclusion

Since both adaptations have their own pros and cons, watch both. Of course, the full experience is playing the visual novel. But if you're not interested in playing the visual novel, watching both is the logical choice and not either 2002 or 2006.


P.S. Don't bother with the manga adaptation. The different arcs were segmented, and don't have the emotional punch of either adaptation. Thus, you can't read it on its own and know the story of Kanon.

'The Blue Wolves of Mibu' or simply 'Blue Miburo' seems to get a lot of negative reviews and drops from people, which stem from not meeting their imaginary expectations.

There are certainly flaws with the anime, but ultimately the good stuff outweighs the bad for those who have the maturity to see it.


§ Overview

As an orphan, Chirinu Nio loves working in his adoptive grandmother's restaurant. That will change as he encounters two members of the Miburo — Hijikata Toshizou and Okita Souji. After that, Nio is invited to join the Miburo, and the rest, as they say, is history — literally.


... § Notes


1. It involves a group that will later turn into the Shinsengumi. This is a period of time before the events in Rurouni Kenshin.


2. If you come to it expecting lots of action, you might be disappointed. It's more introspective even though it has some level of action and bloodshed.


3. It annoys me that the anime doesn't give you enough time to really get to know the adult supporting cast. I suspect that's because younger Japanese people might have been exposed to them in their history lessons. If not, they have probably seen other media where the Shinsegumi appears.

This might not be a weakness as far as the Japanese are concerned, but it can get annoying if you're nonJapanese and you don't know who these people from the Miburo are.


4. Before they cross swords, we even see the backstories of the Miburo and their antagonists. This aspect adds some depth to these characters, even some what people call nowadays NPCs.


5. The protagonist is Nio and supporting him are two people close to his age, Saitou Hajime (the same character we see in Rurouni Kenshin) and Tanaka Tarou. Nio is useless as a swordsman. He doesn't have skills to wield the sword and protect himself. At one level, this show is the battle between his naïve idealism of justice and the cruel reality of this period.


§ Nio's Rite of Passage

Arnold van Gennep's 1909 book 'Les Rites de Passage' (The Rites of Passage) outlines three key stages of the rites of passage:

1. Separation

2. Liminality or the in-between phase

3. Incorporation or Reintegration

I see this anime as Nio's rite of passage from boyhood to maturity. First, he is separated from his adoptive grandmother. Second, he becomes part of the Miburo, undergoing some sword drills, running some errands, etc.

Finally, a deeply traumatic event will make him question his ideals. When he begins to do so, that's when we can say that he is truly part of the Miburo, and in all these episodes, Nio was just in the liminal stage.

Those who have seen the final episode will surely resonate with this quote:

"In order for Man psychology to come into being for any particular man, there needs to be a death. Death—symbolic, psychological, or spiritual—is always a vital part of any initiatory ritual. In psychological terms, the boy Ego must 'die.' The old ways of being and doing and thinking and feeling must ritually 'die,' before the new man can emerge."
— p6, ch 1, "The Crisis in Masculine Ritual Process," in the book "King, Warrior, Magician, Lover: Rediscovering the Archetypes of the Mature Masculine" by Robert Moore and Douglas Gillette

It is this introspective tone as well as the veiled call for maturity that I find fascinating in this show. It's more mature than typical anime targeting the shounen demographic. It's not fun because it touches on those issues that every boy in transition to adulthood must face.

This is also the reason why I score this above 'The Elusive Samurai.' That show might score points for the superior animation.This, however, has stronger themes.


§ Conclusion

It might not be a popular choice to give this anime a positive recommendation but I'll do it anyway. It has substance and it's quite mature for something targeting the shounen demographic. It's unfortunate that the substance of this anime may go over their head when it is the very thing they absolutely need.

Season 2 of 'Toilet-Bound Hanako-kun' continues the spirit of the first season: a generally light-hearted supernatural comedy aimed at a younger audience. If you're within its target demographic, or at least charmed by its not-so-serious tone, you will love it. If not, you may tolerate watching it but it will be something you will never cherish or forget.


§ Notes


1. The art direction continues to be unique. It's different from the usual, but it's a bit eerie mixed with the sense that it's comedy.

You may not be impressed with the animation and the framing, but the overall art direction is worth commending.

...
2. The sound in transition scenes continues to be great. Again, this remains one of its strengths.


3. It continues its light-hearted tone, but there are more serious stakes that made me more curious and made me expect so much this season. Unfortunately, it hasn't fully developed it as much as I would like to. Hint: There seems to be no sense of urgency in addressing it once that knowledge is revealed.


4. Unlike the first season, it's really divided into two major arcs. These two major arcs give us two major themes: 1) live every moment of your life to the fullest, and 2) face reality.


5. As you can tell, I'm not really a fan of this anime. It's not for me, but for those close to high school, this is a good or even a great watch. Let's dive into the themes, shall we?


§§ Theme No 1: On making the best use of the remaining time of your life

This theme reminds me of this quote from Marcus Aurelius: “Live as though today is your last day.” It's profound once you get it.

Perhaps the anime's light-heartedness is just a vehicle for young people so they’re introduced to these themes. They might not get it now, but they might down the road.


§§ Theme No 2: What is real?

The second major arc asks us what is real and how can we know it. It's basically a mini-lesson on epistemology. It's basically the question Descartes had asked centuries ago: How do we know we're not dreaming? On a related note, this theme is also explored partially in the K-drama W: Two Worlds.

The lesson is basically, once we distinguish what's real and what's not, do we have the courage to face it?


§ Conclusion

This may seem like a silly anime that younger people might enjoy, but I appreciate the profound themes that the anime has embedded. This is the reason I'm bumping the score to 6 out of 10 from the 5 out of 10 I gave Season 1. The anime is not as shallow as it might seem at first glance

This is the opening of Season 2 of Toilet-bound Hanako-kin. It has relevant lyrics that, in retrospect, gives clues on the plot.

It has a high energy that, if you like this anime, it can be a banger.


§ Content of the Video

The setting takes place in a classroom. There is a butterfly that the 'camera' is following. The frame is mostly moving but not to a dizzying extent as can be seen in Momentary Lily.

Then it tries to follow a mysterious person with a large butterfly on his face, but the frame is being rotated. Then back to chasing the butterfly. A bit later, ... a swarm of numerous butterlies. Then back to the mysterious person.


§ Notes

If you're claustrophobic, you might not light it because you see yourself confined in a single room, unlike other musick videos where you move into different places.

It's not clear what's being told visually. There are some writing, but I don't know enough Japanese to decipher them. Perhaps the experience would be better if you know Japanese because there are subtle changes in what's written and that may communicate much for a native but meaningless for those not proficient in Japanese.


§ Conclusion

It's a banger opening or at least potentially so. It's a bit confusing what's the story being communicated via the visual medium. Perhaps it's the claustrophobic sense and they are successful with that.

**On the path Miyo took to become the most beautiful swan**

'My Happy Marriage' remains one of my favourite stories because of how emotionally satisfying it is. I called it 'an emotionally satisfying ugly duckling story' in my first review: https://myanimelist.net/reviews.php?id=544731

Miyo initially believed she was giftless because she did not possess Spirit-Sight, but she later discovered that she has Dream-Sight, the rarest gift of an Usuba family member. This is a story that goes beyond its target audience. Anyone who has ever felt weak, powerless, untalented, worthless — a late bloomer — can identify with Miyo and her journey.

Season 2, therefore, is the logical ... conclusion where Miyo officially becomes the most beautiful swan by unlocking and making full use of her gift of Dream-Sight.


§ Art Direction

The æsthetics of Season 1 were already great. No one would have expected that Season 2 would surpass it in terms of the visuals but it did. Even just a cursory glance of the animation, particularly in the opening theme sequence, reveals smoother movement and more vivid colours, whilst keeping the overall look and atmosphere.

This is even more pronounced in certain battle sequences. If you've read the light novels prior to watching the episodes this season, the combination of great æsthetics and great animation will still surprise you despite knowing what will actually happen.


§ Musick

The quality of the opening and ending songs barely contribute to my rating. Still, it's part of the overall experience.

I love Riria's song in Season 1 — 貴方の側に (Anata no Soba ni). Even though Riria's opening song — 幸せな約束 (Shiawase na Yakusoku) — in Season 2 cannot match the emotional impact of Season 1's opening, it is still a good song in its own right and worth listening. Whereas S1 OP is about a girl's determination to do her best for the sake of her beloved, S2 OP in tone and in words are about affirming the happiness she already has, a happiness that comes from believing in a 'promise of happiness,' which is the song's title.

I was rather indifferent to Season 1 ED — ヰタ・フィロソフィカ (Vita Philosophica) by Itou Kashitarou — even though I recognise its lyrickal qualities. It stands for Kiyoka as he guides Miyo in her journey of growth.

Season 2's ED, 月影おくり (Tsukikage Okuri) which means moonlight sending (off), is an improvement. The energy is higher and more intense, and signifies Kiyoka's growing feelings for Miyo.

Last but not the least, Evan Call's OST continues to delight our ears.


§ Cramming Four Volumes' Worth of Content in 13 Episodes

The most noticeable issue this season is how the anime crams so many volumes within a single cour, which I imagine might be a little bewildering to anime-only viewers. Whilst Season 1 took its sweet time and only adapted two volumes, Season 2 adapted four volumes with obvious pacing issues that might leave a bad taste to people without the knowledge from the light novels.

I can't blame the director and the staff for their decision. If this season only adapted two volumes (Volume 3 and Volume 4), you run into three or even four problems:


1. Firstly, the Kudou villa arc would be longer than most people would be comfortable with and the likelihood of dropping is higher. It may please light novel readers like me to have that many episodes as well as have those emotional moments that were cut in the anime, but a number of people will complain that the author 'has run out of ideas.' For them, it's basically a repeat of the first half of Season 1 and fail to notice that this arc is supposed to be for comparing and contrasting the Miyo before and the Miyo now.


2. Secondly, the Usui Naoshi arc spans light novel volumes 4 to 6. If the second half of this hypothetical season were to only adapt volume 4, Season 2 would have ended before the arc concludes.


3. Thirdly, people might complain of having to wait for one or two years for a hypothetical third season involving Usui as the main villain. In that case, perhaps, it's reasonable to suggest that Season 2 should have been two cours' worth with 24–26 episodes.

The problem with this is that it doesn't address point no 1. To address that, the Kudou villa arc might have been trimmed to 3–4 episodes. Three episodes to match what we see in Season 1 or allowing an extra episode to leave room for the emotional moments omitted in the anime.


4. But if you make the Kudou villa arc only 3–4 episodes, there won't be enough material to fill two cours.

Do you see the dilemma the director is facing? Perhaps he reckoned that the anime in its final form from Episode 1 to Episode 13 is the least bad option.


§ The joy and agony of changes in the anime

As with any adaptation, there are inevitable changes that may surprise and delight you and some changes that may either leave you scratching your head or infuriate you.


§§ Good Changes

• I like the changes the changes in the anime that made Karouko's betrayal make sense because what Usui showed her gives her a visceral feeling of being under duress.

• I like how Fuyu, Miyo's future mother-in-law, is made more likable in the anime. These and many changes make watching the anime worth it, even if you've already read the light novel volumes covering the anime.

• I like how the anime made it explicit that Miyo has unlocked her Dream-Sight ability after perusing the journals of former Dream-Sight maidens. In the light novels, there was some imagery but no explicit statement. The visuals in that episode was so kino.

• Etc, etc.


§§ Bad Changes

• I dislike how, because of the pacing issues, Miyo's perusing the journals seemed like minutes instead of days as in the light novels.

• I dislike how they removed the element of surprise in Episode 12.

• Etc, etc.

This mixture of good and bad changes has convinced me even more to lower my score.


§ Conclusion

From the score of 10 out of 10 I gave season 1, I am giving this season rating of 9 out of 10. It has its issues that prevent me from giving it a full mark. And even if this season had been given more episodes to avoid these problems, it doesn't match the emotional impact of Season 1.

Nevertheless, Season 2 is worth watching because we see 1) the culmination of Miyo's growth, and 2) greater focus on the plot and the lore behind the supernatural elements, which I thouroughly enjoyed.

Review No 200. Making Money and Masculinity: In Praise of 'Trillion Game'

_______________________________________________________

'In popular usage, the word "selfishness" is a synonym of evil; the image it conjures is of a murderous brute who tramples over piles of corpses to achieve his own ends, who cares for no living being and pursues nothing but the gratification of the mindless whims of any immediate moment.

Yet the exact meaning and dictionary definition of the word "selfishness" is: concern with one's own interests.'

— Ayn Rand, p. vii, Introduction to "The Virtue of Selfishness"

...

'I am the world's most selfish man.' (俺のわがまま世界１だ)
— Tennjouji Haru

________________________________________________________

So proclaimed Haru, our ultimate bullshitter, compulsive liar, sweet talker, you name it. Will he succeed with his plans? Would Ayn Rand consider him a hero?


§ Overview

Haru and Gaku met in middle school and both saved each other's arses, which was a brief encounter. Later they meet again at Dragon Bank where Haru reveals his plot to become ultra-rich and asks Gaku to become a partner so that, together, both will become the world's most selfish men.

Our duo undergoes a hero's journey, the quintessential storytelling device by Joseph Campbell. Instead of heroes as warriors, Haru and Gaku are enduring trials to be entrepreneurs and become ultra-wealthy.

§ Art Direction

Even though it's not a direct throwback, the art direction reminds you of 90s æsthetics. It's a good approximation.

Like many anime from the 2000s onward, Trillion Game includes some level of CGI. The buildings especially in wide shots are CGIs. The cars too are CGI. Despite that, you don't really notice because they blend seamlessly into the overall composition.

There is just one unfortunate instance in one episode where a crowd of figures was drawn without faces, a trend seen in more recent anime. It's not really a big deal in the bigger scheme of things, but it might be glaring for some because I can't remember any similar drawing of crowds in earlier episodes.

Some may not like the character designs. They're not pretty, but they're effective. By the time the anime ends, you will remember the character names and the faces — or at least remember and recognise the characters' faces when you see them again. This memorability, by itself, is worth praising because the generick designs of run-of-the-mill stories in so many recent anime are not exactly commendable and therefore forgettable even if the story is somewhat decent.

I'm not sure if the illustrator of the manga and/or the character designer is trying to convey anything related to the theme of this show. Nevertheless, the choice of character designs, even if unintentional, signifies the decision to stray from what's popular and common to forge its own unique identity, another theme of this anime, and it has largely succeeded.

Initially, I thought Trillion Game wasn't using 90s æsthetics in its character design due to the lack of sex appeal of its female characters. Kirihime is said to have sex appeal but some details of her design downplay it, unlike the apparent allure of 90s goddesses. Misato of Neon Genesis Evangelion is a case in point, and you can see and feel the difference.

Ultimately, some people are missing out on this great story because they prefer to have some characters with a great waifu appeal. But as they say, c'est la vie.


§ Entrepreneurship from the Point of View of the Austrian School

I view the œconomy, market phenomena, and politics from the point of view of the Austrian school, which is why I love Trillion Game so much. It resonates entirely with the idea that prosperity arises from the value generated from the entrepreneur's handling of material resources — not goverment policy.

(See this article for the differences between the neo-classical view and the Austrian view of entrepreneurship: https://www.jesushuertadesoto.com/articulos/articulos-en-ingles/the-ongoing-methodenstreit-of-the-austrian-school/2-the-essential-diferences-between-the-austrian-and-neoclassical-schools/)


§§ Israel Kirzner

One thinker from the Austrian school is Israel Kirzner, and for him, an entrepreneur is a 'decision maker whose entire role arises out of his alertness to hitherto unnoticed opportunities.' (Competition and Entrepreneurship, p. 39)

A Kirznian entrepreneur is not just a financier of a business. He has keen eyes and is on the lookout for discovering opportunities for making money. Unlike the neo-classical view that tends to make an entrepreneur a passive receiver of information, his role is active and this is driven by guts, ambition, and, yes, selfishness, which is not in the common, everyday, and pejorative usage of the term but in Ayn Rand's precise usage of the word. Even though Inagaki-sensei may not be aware of Ayn Rand, his character Haru acts in accordance with her usage and Trillion Game itself celebrates capitalism.


*********************************************

To add some context:

1. Ayn Rand is neither a libertarian nor part of the Austrian school and would have nothing to do with libertarians like Rothbard. Some of her ideas but not all can be valuable, which is why we engage with them.

2. This critical article is revelatory: https://medium.com/@charleslewisbreedlove/dr-stone-an-ayn-rand-wet-dream-43d499769d6a

Even this person critical of Ayn Rand finds parallels between Ayn Rand's works and Inagaki-sensei's other work, Dr Stone. Since Trillion Game is the first work from Inagaki-sensei that I have been exposed to, I will surely seek his other works. Thus, Trillion Game did a great job, of cross-promoting Inagaki-sensei's other works.

*********************************************

We can see this trait in Haru in the way he finds opportunities to make money before everyone else:

1) the flower website

2) God Promotion

3) Trillion TV.

His actions might be viewed as a gamble, and it takes guts, which I think is the key ingredient for Haru's success. Without guts, there would be paralysis-analysis. Ultimately, Haru's actions should not be viewed as gambles of a madman but as the market discovery process.


§§ Ludwig von Mises

We can also consider Mises' view, which evolved into the Mises-Knight view of entrepreneurship as judgement under uncertainty.

"Like every acting man, the entrepreneur is always a speculator. He deals with the uncertain conditions of the future. His success or failure depends on the correctness of his anticipation of uncertain events. If he fails in his understanding of things to come, he is doomed."
— Ludwig von Mises, (Human Action, p. 288)

There are several moments in the anime where the duo especially Gaku feel uncertain. This ability to act in spite of the fear that such uncertainty brings is the hallmark of an entrepreneur. Again, it's not a passive receiver of information as in the neo-classical view, but an entrepreneur is acting man with guts.


§ Ethical objection

One might think that Haru's actions border on the unethical if not outright unethical. The investors trust him to use the investment for something, but he uses it for something else.

One can meet this objection this way. He is not outright swindling the investors. He is using it to make even more money than what the investors were expecting. From the previous views of entrepreneurship, Haru is engaging in entrepreneurship by that very act of risking their investments for something greater. If he had to explain his judgements to investors and persuade them one by one, the window of opportunity may close before he gets their consent. Good thing his gamble worked.


§ It won't work in Japan

I read one criticism that Haru's bravado won't work in Japan's corporate culture — that such a degree of individualism is more appropriate and encouraged in the United States. However, this criticism rests on the assumption that fiction is a mirror of reality.

What if fiction tells us a state of future reality, something that ought to be? In that case, 'Trillion Game' might not be a fiction about reality but about what ought to be — a world where individualists can succeed.

Perhaps there is a subtextual criticism of collectivism in Japanese corporate culture. In this case, Haru who embodies rational egoism and individualism is kind of like a Randian hero. He is something that we would like to, and should, aspire for. He is from Japan but he goes against its dominant culture.

I'm not saying Inagaki-sensei wanted individualism in Japan (I can't read his mind) nor am I saying that he is following Rand's tenets. I'm just suggesting a way of looking at this fiction that deflects this criticism, even if the rationale may not have crossed the mangaka's mind. It's a reading where we view Haru's bravado as an individual aspiration.


§ State Intervention: A Libertarian Perspective

One aspect that the anime doesn't address is the role of government intervention and regulation in the market œconomy. Usually viewed as benign by most people, they are the root of many market distortions. Far from protecting competition, they create monopolies instead. These regulations create barriers to entry that big businesses may meet but start-ups cannot, thereby limiting the Schumpeterian creative destruction that lies at the heart of capitalism.

In the world of Trillion Game, a monopolist like Dragon Bank has grown far beyond its entrepreneurial roots. Innovation has stalled, and the only way they can continue their dominance is to buy their competitors out, not by offering better services. The anime may have fumbled on this detail, but one may surmise that Dragon Bank's stagnation happens because of such state interventions and why libertarians are pretty much anti-state, even those who are not anarchists.

And true of proper capitalism, Haru and Trillion Game ensures that Dragon Bank is in check. Dragon Bank will fall if they don't innovate. If they don't innovate, they die, which is very fitting for the process of creative destruction.

Nevertheless, the function of Trillion Game is chiefly to entertain, not a philosophical treatise about how capitalism is the shit. Inagaki-sensei might not be a libertarian, and I don't expect any author to pander to my ideological biases anyway. I'm not giving this anime a demerit despite falling short of critiquing the state.

The movie adaptations of Atlas Shrugged failed precisely because they failed to entertain. The philosophical dialogues — akin to Socratic dialogues in the novel — don't translate well to the movie screen.

Compare the recent anime Orb. It has some Socratic dialogue but it's just a sprinkling compared to what can be gained by reading Plato. A rigorous philosophical dialogue in Orb would have further alienated the viewers; those not philosophically inclined already find the back-and-forth exchanges boring. It's not boring as far as I'm concerned, but it's boring for those people who don't get turned on by big ideas.


§ Not a Critique of Capitalism

Some people I see in the forums, Reddit, or X view this anime as a parody or a critique of capitalism and find some level of enjoyment in this anime by viewing it through that lens. I disagree.


1. It doesn't portray businessmen as exploiters of people. One might point out that a certain creative was bought off by Dragon Bank to suppress their word, but it should be emphasised that it's of that person's own volition. It's a private contract and not coercion.

They say Trillion Game 'exploited' Rinrin, but it's ignoring the beauty of it. To properly frame it, it was a short-term sacrifice of unpaid work and loss of sleep that she voluntarily agreed to as president of Trillion Game. She knows that, down the road, she will earn more money than if she were to as an average office employee. This is not exploitation; this is another form of entrepreneurship.


2. They say that capitalists are greedy and they push defective products to consumers. Again, the events in the last episode prove them wrong. Instead of the cliché where the capitalist will force our duo to concede, Haru cunningly manipulates people so that the capitalist can still be greedy yet end up benefiting the interests of the consuming publick. This ladies and gentlemen, is the invisible hand dramatised. Adam Smith said to the effect that capitalists are not building businesses to be benevolent and charitable to people. They build businesses to profit but they still end up giving value to the publick, which in turn raises societal living standards.

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Cf. Adam Smith, The Wealth of Nations (1776):

“It is not from the benevolence of the butcher, the brewer, or the baker that we expect our dinner, but from their regard to their own interest.”

This quote is an expression of the invisible hand where the pursuit of private profit leads to public benefit. It's the exact quote for point number two.

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3. It is not capitalist and capitalism per se that should be criticised. As I said, it's the state and Hans-Hermann Hoppe writes that the state and the people behind it are the true exploiters that Marx ought to have criticised. (See his paper 'Marxist and Austrian Class Analysis')

Likewise, if a capitalist uses his connections in government to gain favours, a phenomenon called 'regulatory capture,' that capitalist is no longer a champion of capitalism. He is a parasite and an enemy of capitalism, a crony and corporatist. I might admire some of the things Elon Musk does, but if he uses his closeness with President Trump to gain favours for Tesla, it is with a heavy heart that I must oppose him, even if some cronies had done worse before.


§ Making Masculinity Great Again

Most reviewers probably and rightly note that Trillion Game is about entrepreneurship. But an underrated aspect of Trillion Game is its celebration of masculinity, which to me is equally important as its celebration of capitalism. In one of the episodes, Haru gets laid as part of Kedoin's test for the duo and he has sufficient masculine qualities to attract that lady who opened up her legs. His tone of voice and body language and power postures mark him as an alpha male. If this were an anime about getting laid, where characters like Cassanova or James Bond are a dime a dozen, he would come out a winner.

Another example of masculinity is how Haru responded when both got an offer from Kirihime of ¥100 million in exchange for virtual control of the company Haru and Gaku will start. Haru said they would think about it.

What he did is a classical negotiation tactic: Never accept the first offer. It's about being confident that another and more advantageous offer will come. In the hacking competition they entered, Haru named their team “Kirihime Offered 100 Million For A 51% Stake! Accepting Other Offers!”

At least two masculine qualities can be seen here. 1) You have balls of steel. 2) You take advantage of social proof. Both qualities are needed for a successful seduction as well as a successful venture.

Of course, Trillion Game is not sexist in that a woman can't win in the game of capitalism. Kirihime and, to a certain extent, Rinrin have those qualities that will help them succeed. Nevertheless, the qualities needed to succeed are traditional masculine traits such as leadership, resourcefulness, courage, the gift of gab, and, yes, being an arsehole if necessary.

This aspect is particularly important to me as the world seems to be suppressing the expression of true masculinity and using the term 'toxic masculinity' to make the unjust association that all masculine impulses are toxic. Since I know that the media we consume can shape our attitudes, Trillion Game do men a big favour by having a character in Haru exude so much masculinity that we can all aspire to emulate. This is a stark contrast to so many anime protagonists who might have the power to fight their enemies but act like a pussy when confronted with the lady they like.


§ Dealing with Potential Feminist Critiques

A feminist reviewer, whom I will not mention, hates Trillion Game as a socialist should. She thinks that the rich are exploiters, and I addressed this point previously.

But I can only imagine her fury intensifying as soon as she realises that Trillion Game is also about having masculine qualities and unapologetically champions them.

If Trillion Game is triggering to a feminist on both counts, then that's a compliment. Feminism, or at least in the current wave, poses a threat to a true man's existence by problematising those very traits that define him, traits that can also be found in Achilles, Odysseus, and Æneas. Haru's extreme self-confidence throughout the anime's run is something they themselves want in a man but are hypocritical and preach to their so-called progressive echo chambers as problematick.

Trillion Game doesn't need to conform to the feminist standards because, as I see it, it is, in effect, anti-feminism. It stands against those people who wish to suppress men's ambition and strength, those who would prefer to see men as passive and living a life of quiet desperation as a beta male. Potential feminist critiques of Trillion Game — accusing it of glorifying “toxic masculinity” or “late-stage capitalism or any other postmodern jargon — reveal that they are not really concerned with great storytelling. Rather, they wallow in their spiritual poverty and inherent misandry.


§ The Opening and Ending Themes

Even though I don't really count the OP and ED songs in my final song, it's quite a bonus if they're bangers attached to the show I love. And to a certain extent, the songs here sound great.

I'd like to note how each song is consistent with the themes of this anime.


§§ 'Beat the odds' by &TEAM - First Opening

(see the lyrics and the translation here: https://www.animesonglyrics.com/trillion-game/beat-the-odds)

This is the first opening and one of its lines — 'beat the odds' — is also the song's title. It's an inspiring track about overcoming various obstacles.

It's quite appropriate for the first cour because our duo is just starting to build their business. The song conveys the courage that one needs to start something difficult and overcome whatever odds that come your way.


§§ 'Unbelievable' (アンビリーバブル)" by Klang Ruler - First Ending

(see the lyrics and the translation here: https://www.animesonglyrics.com/trillion-game/unbelievable)

If you just see the visuals in the ED, you would think that the song is from Kirihime's point of view. Yet the lyrics reveal a person struggling against the grind, yet urging the listener to 'never give up' and affirming that it's okay to 'be selfish.'


§§ 'over the top' by Hiroji Miyamoto - Second Opening

(see the lyrics and the translation here: https://www.animesonglyrics.com/trillion-game/over-the-top)

The lyrics are about being present and going forward. The animation matches the energy coupled with a sequence of Haru and Gaku driving through the fast lane.

It's a shame that it's even more energetick than the first opening song, and has the potential to be a real banger.


§§ 'Egoist' by imase - Second Ending

The lyrics are about being selfish as always, and being an egoist is a related concept to selfishness, one of the show's themes.

I don't know if the producers of this musickal video realise this, but they must be attuned to the fact that the character of Haru must have the swagger of an alpha male. Even in a more chibi form, we see Haru doing the trillion-dollar walk, nonchalant to the people around him.


§ Conclusion

I am giving Trillion Game a score of 10 out of 10. Even though it's not actually perfect, I consider it a masterpiece. It's not about great animation or cinematic visuals; those can be seen in Bakemonogatari as well as 'Days with My Stepsister', which I also highly recommend.

It is a masterpiece because:

1) it's a show about capitalism, a system of free and voluntary exchanges, and not the planning of useless bureaucrats; that wealth when properly earned is not evil;

2) it touches on something rare nowadays in television, which is an affirmation of masculinity and the virtues associated with it, namely ambition, leadership, courage, resourcefulness, etc; in a world where softness and being lame are encouraged, Trillion Game dares us to hustle and ignite our fire of ambition; and

3) it is consistently entertaining from start to finish.

All in all, in 26 episodes, Trillion Game is my absolute favourite anime of the Fall 2024 up to Winter 2025 anime seasons.


§ Appendix: Significance of Names or Charactonymy

I'll append to this review the meanings of some of their names. In other words, many characters in Trillion Game are charactonyms.

Many characters in Trillion Game have names that are loaded with meanings. These names (or charactonyms) are true to their characterisation. Below are the charactonyms I found. There may be some I might have missed.

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1. Tennōji Haru (天王寺 陽)

The kanji for his given name Haru is 陽, which means sunshine or sun. Haru is one of several name readings of this kanji (陽). His surname Tennōji (天王寺) has the three characters for heaven, king, and temple.

The Tennō (天王) part of his surname is actually a word that means 'Heavenly King' and has been used to refer to the Japanese Emperor.

Not bad for the world's most selfish man. Roughly, his full name evokes "the sun over the Emperor's temple" — an imagery of someone above all and shining bright. The sun is a figure everyone looks up to, and Haru is similar in that he is an inspiration and an aspirational figure to follow.

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2. Taira Manabu (平 学), his nickname is Gaku.

His surname is Taira (平) and the kanji means even surface. Perhaps it points to his down-to-earth nature in contrast to Haru who is larger than life. Taira is one of this kanji's (平) three kunyomi.

His given name is Manabu (学), and Manabu is its kunyomi. The kanji means study.

His nickname comes from the kanji's (学) onyomi, which basically is its reading when part of a compound.

For examples:

gakusei(学生) = university student

daigaku(大学) = university

The meanings of the kanji for 平学 are apt given how much of a geek Gaku is.

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3. Kedouin Kazuki (祁答院 一輝).

His name Kazuki (一輝) has the kanji for one and radiance. Perhaps this signifies a person standing out in his own right.

His surname 祁答院 has the kanji for intense/large, answer, and institution.

He was the duo's first investor and the meanings of the individual kanji in his name are fitting for someone who first believed in Haru and Gaku.

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4. Dragon Bank and the Kokuryū (黒龍) Family

Kokuryū (黒龍) has the kanji for black and the old kanji form of dragon. In Chinese, black dragons mean evil and vengeance.

Dragons in East Asia are symbols of power and an appropriate symbol for the monopolist/big business corporation that our duo is contending with. It's run by the Kokuryū family.

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5. Kokuryū Kirika (黒龍 キリカ), nicknamed Kirihime (桐姫).

Her given name is written in katakana, but we can infer the meanings from her nickname since that is written in kanji.

• Kiri (桐) = the paulownia or Empress tree

• Hime (姫) = princess

Thus, Kirihime has the kanji for paulownia (桐) aka Empress tree plus princess (姫). (This also explains why you can hear in anime/drama that a princess is referred to as hime-sama.)

Since the kanji of the ka part of Kirika is unknown, we can infer that it's the flower kanji 花, where ka is one of its onyomi. Her name Kirika might mean 'Empress Tree Flower,' a delicate and fragrant flower.

(You can learn more about a paulownia and its flowers here: https://www.seattlejapanesegarden.org/blog/paulownia-tomentosa#:~:text=Paulownia%20tomentosa%2C%20empress%20tree%2C%20is,of%20the%20herbaceous%20foxglove%20plant.)

Together with the chrysanthemum, the empress tree is a symbol of the Japanese Imperial Family.

Kirihime is a princess today but her name foreshadows how she will become a powerful businesswoman, an empress so to speak. Many executives think that she is a nepo baby, not realising that she is a strong and competent woman.

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6. Kokuryū Kazuma (黒龍 一真), the president of Dragon Bank and Kirika's father.

His name Kazuma has the kanji for one and truth. Perhaps his worldview is the one and only true view — absolute and dogmatic — and that makes his leadership of Dragon Bank inflexible and bound to ruin down the road.

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7. Takahashi Rinrin (高橋 凜々)

Her given name Rinrin is actually just one kanji 凜. It is repeated twice, so 凜凜. But instead of writing two consecutive characters, we write it as 凜々, where 々 is the kanji repeater symbol.

凜 means 'cold, strict, severe', and is particularly relevant with her doubly strict temperament as president of Trillion Game.

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8. Sakura Shingo (桜 心護), Trillion Game's talent in creating and designing mobile games.

His surname Sakura (桜) is the same kanji that refers to a cherry blossom, a symbol of transient beauty and hope.

His given name Shingo has the kanji for heart or spirit (心) and safeguard (護).

Even in his first name, we can see his passion, a perfect fit for his creative spirit.

***Beyond Yuri: Literature and Voice in 'Flower and Asura'***

'Flower and Asura' is one of the favourite anime this Winter 2025 season, offering an impressive blend of beautiful visuals, character-driven drama, and slice of life.


§ Overview

'Flower and Asura' follows Haruyama Hana, a girl from the remote island of Tonakijima (literally Tonaki island) who loves reading stories to the island's children. When Usurai Mizuki notices her talent, she does everything she can to invite her to the school's broadcasting club, leading to Hana's growth as a person and as a storyteller.


... § On yuri subtext and yuri baiting

Let me address this point head-on. Since 'Hibike Euphonium,' which I have not seen so far, was reportedly filled with so-called 'yuri baiting,' yuri fans expect this other work by Takeda Ayano to also contain yuri subtext.

It's reported that there was nothing resembling yuri in the original Hibike novels and that the director of KyoAni's adaptation added these scenes of yuri baiting, which in turn appealed to certain types of people. As a result, it is possible that Takeda-sensei might have included some form of 'yuri baiting' or to put it in more diplomatic language, 'yuri subtext,' in her manga 'Flower and Asura.'

I can't say as I haven't read the manga. All I can say is [SPOILER ALERT] that it ticks my alarm for some yuri subtext in the final episode. It sounds like Hana was confessing to her Mizuki-sempai. Hana says, 'I want to be by your side, Mizuki-sempai.' and '...how much I like you.' (Some subtitles use 'love' when the context and Japanese don't seem to warrant it.) After all, throughout the anime, Mizuki has been there to encourage Hana who, despite her beautiful voice, still struggles with low self-esteem.

Such emotionally charged moments remind me, to a limited extent, of that final scene in season 2 of Maria-sama ga Miteru. [SPOILER ALERT] After a serious misunderstanding, Sachiko and Yumi reconciled and strengthened their bond, and some can and will argue that it was a confession because of the framing and the animation.

Regardless if you call it yuri baiting or subtext, the result is the same. It gives you the freedom to interpret these girls as lesbians or continue to interpret them as straight. By the way, my position is that they are straight until they explicitly say that they're not.

It is unfortunate that some would argue passionately one way or the other. This anime is not romance. Is it really that important to the plot if these girls would prefer scissoring each other over a guy's schlong?

Frankly, I don't give a damn if these girls are lesbians or not. What's more important to appreciate, and I hope some fans of the show also appreciate, is their passion and love for literature, which is expressed by recitation.


§ 朗読 (roudoku)

roudoku is simply recitation or reading something aloud in publick. The way Hana reads stories for children is roudoku. When she reaches the broadcasting club and prepares for competition, she has the option of choosing to read a difficult passage of Japanese literature or a nice passage from a contemporary work.

Normally, when we think of literature, it's about retreating into our little corner and reading a book quietly. But roudoku means someone is reciting the same words publicly and the hearers experience the words in a different medium.

This activity points to the transmission of literature long before the written language was invented, and the most famous example of this is Homer's epicks. Originally, both the Iliad and the Odyssey weren't meant to be read silently. They were meant to be read aloud and recited, and bards had to memorise them. That's why it had epithets, phrases such as 'swift-footed Achilles,' 'much-enduring Odysseus,' 'Rosy-fingered Dawn,' etc, for ease of memorisation.

This is one of the reasons why this anime is one of my favourites this season. It reminds us of how literature was originally meant to be experienced — through the spoken word.


§ Potential limitation for people with limited or no knowledge of Japanese at all

A casual viewer will be impressed with how Hana recited in Episode 1, especially with how the visuals surrounding it are so great. (I'll discuss the visuals later.) But people like me who know limited Japanese or people in general without such knowledge would be tone-deaf on the aspects of Hana's way of reciting that need improvement, much like casual listeners of a guitar performance might not be aware that a certain guitar is out of tune.

Contrary to some people's expectations, Japanese isn't just having the vowels a, i, u, e, and o and speaking them with a flat intonation. It has pitch accents, where patterns vary, such as beginning a word high, then low, or starting low, then high, then low, etc. Foreigners learning Japanese are exposed to the standard Tokyo dialect, but there are regional differences.

The point is that to get high points in a roudoku competition, one must speak with a perfect Tokyo dialect whilst fulfilling other factors as well. I don't know the specifics of how Hana falls short, but it's reasonable to believe that she speaks in a regional dialect and that she speaks words with a different set of pitch accent patterns. She was even told to use 'nasal g' aka bidakuon, and what are the rules that one must observe so you know when and when not to use it.

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For added context, it's not clear whether the Tonakijima where Hana lives is the Tonaki island near the Okinawa mainland. Let's entertain the idea that the anime refers to that island near Okinawa. If you've seen Okitsura, you know that the Okinawan dialect or perhaps language is confusing for other speakers of Japanese, especially the standard Tokyo dialect. A little research will tell you that, even though Hana does not speak the local language, she would probably speak Okinawa-accented Japanese. No wonder her teacher was telling her that her pitch accent was off.


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This aspect may not translate well if we are just reading the subtitles. After all, if we've seen Episode 1, we're already impressed with Hana and are probably rooting for her. We might ask, 'Who are these fuckers telling Hana that her technique is inadequate?'

Anyway, Hana did her best to improve the technical aspects, and to me her voice was powerful and confident in the season finale, but those of us who can't appreciate the subtleties or the extent to how Hana has learned to conform to the standard dialect would not likely appreciate her improvement. To put an analogy, take your favourite battle shounen protagonist. You know he has a training arc, but you don't know what his power is or what his issues are. You're simply told that he trained and improved. That's probably how non-Japanese without advanced knowledge of Japanese might experience Hana's 'training arc,' so to speak.


§ The awesome visuals

Upon watching Episode 1, we are immediately drawn to the great visuals that accompany Hana's recitation and enhance the emotional impact as well as æsthetics of Hana's performance. These visualisations are nondiegetic elements in that we as anime viewers can see them, but the character in the story doesn't see them. It just means that the person hearing a recitation is drawn and impressed by it.

It usually accompanies Hana's recitation, but not always. [SPOILER ALERT] Consider the teacher listening to Hana as she begins to read an excerpt. She recognises how great and beautiful her voice is. The problem is that there are several technical stuff where Hana is deficient, which would lead to her getting a much lower score during competitions. She wasn't impressed by Hana's recitation the way other characters are.

But such visuals also accompany other characters when they are reciting a book excerpt. Such art direction gives us something to look forward to every episode.

I'm not sure if KyoAni would have done better if they had chosen to adapt this. I'm sure they're also excellent. But Studio Bind is doing great work as it is.


§ Mizuki's Arc

[SPOILER ALERT]

Here's another potential weakness that some people might not like. The final arc of the season feels more like a necessary development in a 24-episode season. Some wish this arc did not take place and have the finale show the opening rounds of the competition. I can understand where these people are coming from because I also want to see the competition this season.

But I beg to differ and implore people to reconsider. Mizuki was a constant figure in Hana's growth because she often encouraged her to persist. We only know that she seems to be a cheerful but boyish girl who doesn't seem to have any problems. But underneath the smiles is the pain arising from the unreasonable expectations of her grandmother. Through this arc, we understand Mizuki better.

Sure, watching this arc might not be as pleasant compared to seeing the competition, but the arc is necessary, and they have to show it in one form or another — if they did not show it this season, perhaps they'll have to show it next season. Upon some reflection, it's better that they showed it now so we can best enjoy the competition arc next season if ever that comes.

Nevertheless, despite these issues, I'm scoring 'Flower and Asura' a 9 because of how I love the visuals, how the characters love literature, and the character drama, not to mention, Hana is cute.

Episode 12, which mirrors Episode 1, may not be a proper conclusion. But you see that the potential is there, and the trajectory is pointing to how great this anime is, and where a potential second season is headed.


§ Conclusion

'Flower and Asura' is ultimately a celebration of the spoken word and its power. It touches on oral and aural delivery of literature as well as the journey of Hana away from having low self-esteem, the same girl who, in the language of Homer, is the bard inspired by the muses to sing.

If you come to this anime expecting a romance, especially a yuri romance, you're still welcome. But please come out of this anime with a greater appreciation for the power of the spoken word.

"It is never too late to be what you might have been"
--- a quote often attributed to George Eliot

Whoever first said this, the words hold something quietly profound, and the anime Medalist brings them to life in that it is never too late to follow your dreams. This is the story of Yuitsuka Inori, a girl deeply drawn to figure skating, but whose mother had forbidden her to pursue it. Her mother was once a professional figure skater herself and Inori's older sister had been set to follow the same path until an unfortunate injury shatters her sister's dreams. With that door firmly shut, Inori's ... dreams seemed elusive or even impossible until she met her mentor, Akeuraji Tsukasa, who has opened the door to figure skating once more.

Let's start with ENGI, the studio behind this adaptation. They don't have a stellar reputation. In fact, with their disastrous handling of Unnamed Memory, which crammed 24 episodes' worth of content in a single cour (the same is true for their season 2 adaptation), ENGI deserves so much criticism.

Imagine people's surprise when Medalist turned out not only decent but great. (If only they had shown the same or even better handling than Unnamed Memory! Sigh.) The story is well-paced. Sure, some manga readers (I'm anime only) have noted that content has been cut, and I reckon it's for the best and ultimately benefits the adaptation.

The anime has reportedly de-emphasized the bullying experienced by Inori, even if it's still present. Inori's mother opposes Inori's aspirations, and it seems that she is even more outspoken in the manga.

In place of that, the anime is able to focus more on the challenges faced by Inori during the badge tests as well as beginner's competitions.

(Spoiler about Tsukasa’s character) We also get to see Tsukasa's backstory, which reinforces one's impression of him as a great character. One understands why he is so eager to mentor Inori as he himself was in a similar, but far worse, situation. The mentor-mentee dynamic between Tsukasa and Inori is a joyful thing to behold.

Some criticks without watching the anime or reading the manga have misinterpreted Inori and Tsukasa's relationship, thinking it's inappropriate and that Inori is a 'loli.' Such criticisms are unfounded and contrary to fact.

Whilst they may happen in real life and it's a serious issue, the anime/manga is attempting to present an ideal, an aspiration for following your dreams despite starting late. The anime has succeeded in both telling and showing us this uplifting message.

This is in contrast to how the anime Stars Align presents the ugly reality of abuse and how the protagonists are able to function despite such disadvantages. Both Medalist and Stars Align are valuable to watch, but one must appreciate the differences in tone: the latter presents ugly realities, and the former is idealistic and aspirational.

If the characters of Inori and Tsukasa are not enough, the rival, Kamisaki Hikaru, is surprisingly lovable. (Spoiler about Kamisaki Hikaru’s character) She has a high level of skill in figure skating, even if her level is a novice. Inori aspires to defeat her. What's refreshing is that she is friendly and encouraging to Inori, supporting Inori to further hone her skills. Unlike what one might expect in a typical sports anime, she is not antagonistic and hurtful with her words. This is why she is so glad when she hears that Inori might be able to compete with her.

Regarding the visuals, the anime incorporates CGI in skating scenes rather seamlessly. One can argue that another studio could have done better, but it's great as it is.

Although I'm not including the OP and the ED in my consideration, plenty of people think that it's the best or at least one of the best OP in winter 2025, and I agree. The ED is rather cute.

The animation and the imagery make one in disbelief that it is an anime made by ENGI. It is so good, albeit I have some reservations. That moment where Tsukasa and Inori are facing each other in profile in a wide shot surrounded by clouds reminds you of 'Your Name' — not exactly the same but way similar to how Taki and Mitsuha look at each other whilst surrounded by clouds in Your Name's key visual — which some people might deem as homage, while others feel it's derivative. If that doesn't bother you, the OP features great animation.

In closing, Medalist is one of the best anime in the winter 2025 season. I'm scoring it a 9 out of 10. The source material is undeniably great and it shows, but I have a nagging feeling that another studio might have done a much better job. Don't get me wrong. ENGI's adaptation is great, but what if, in theory, there's room for it to be even greater?