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I truly think the creators of "Lupin III vs. Cat's Eye" wanted people to like this movie. Combining two classic franchises known for beloved characters, memorable music, and fun action sounds like a love letter for the ages. Unfortunately, no amount of goodwill could have saved it from atrocious animation that brings the entire production down, and a story that deserves it. Whether you're a lover of Lupin or an admirer of Cat's Eye, you have nothing to gain from this -- and an hour and thirty one minutes to lose.

-Story and Characters-
Combining these master thieves in one movie is a comfortable fit, ... but the story that brings them together is shamefully mediocre. The smart writing from previous Lupin outings is unfortunately missing from this by-the-numbers story, leaving it planted in with the worst of the franchise OVAs. Knowing anything about these characters will immediately expose exactly how the plot will go, and the "vs." in the title is a paper-thin attempt at conflict that gets thrown in the trash before the halfway mark.
When you're making a story like "Lupin III vs. Cat's Eye", it's a must to earn the crossover -- to something that celebrates the union of two iconic franchises. Instead, I have never seen a more dumbed-down, one-note version of these characters and their pathetic attempt at a plot. It's a disappointment.

-Art and Sound-
Clearly, the animation does not look good in "Lupin III vs. Cat's Eye". The models are stiff, action is clunky, and there is a sense of lifelessness that permeates the whole picture. Action figures and statues have more expression than these character models, and honestly that's the worst part. Even in the worst movies, the Lupin gang have always been expressive and filled with personality, but even the actors seem dragged down by their on-screen counterparts. All these actors are veterans of the Japanese voice-over industry, some having played their character for decades, but were chained to animation that sank them like a weight.
It's a shame, because the character designs themselves are sharp and fun, and Yuji Ohno's music should be enjoyed on its own without this disaster of a project.

Had "Lupin III vs. Cat's Eye" been a traditional 2D animation on par with some of Lupin's recent projects or CG on the level of "Lupin III The First" maybe something could be salvaged from this Lupin letdown. As is, this is an embarrassing tribute to the franchises it's trying to celebrate. In the 50 years of Lupin, and 40 of Cat's Eye, this entry should be wiped from history.

"One Piece Film: Red" is a strange movie, and even stranger entry in the One Piece franchise. Throughout the movie, 'divisive' was the word I kept landing on -- both for me personally, and how I predict the fans will react. There are some moments I would die to see again on the big screen, but all my favorites were very out of place for a One Piece movie and not worth the lows it took to get to those highs.

-Story and Characters-
As a newcomer to the One Piece world "Film: Red" committed the cardinal sin of anime movies: I was much less ... excited about the franchise after watching this movie than I was before. Despite seeing it less than a day ago, the story is foggy at best. I remember what I watched, but if I had nail down the plot, I'd be at a loss. I cannot think of a single productive thing the main characters did to develop the plot along, and their story was clearly just padding to take a break from the movie's main focus: Uta. "Film: Red" is without a doubt her story, and even Luffy is merely an observer in her One Piece movie.
If you like Uta, you'll be well-fed. While starting as a one-dimensional idol trope, Uta's personality and motives unravel as the movie goes on, and twists get thrown her way. Despite being the smallest character on the poster, she is the only one with anything to do in the movie. If you were looking forward to big moments from your favorite characters, you won't get it here. Fan favorites are sidelined early on, and stay stuck or separated for most of the film. One Piece's wonderful cast of characters were mere prop in Uta's movie until the finale. Even then, every moment Luffy was on screen made me want to bang my head on the theater floor. The iconic main main of the franchise was swiftly made annoying, unlikeably stupid, and pointless in "One Piece Film: Red."

-Art and Sound-
While the story was making it difficult to stay awake, the art direction was the shot-in-the-arm "Film Red" needed. One Piece already has some amazing character designs, but Luffy and the Straw Hats have never looked better. The rendering is beautiful; the way the simply colored characters standout on watercolor-esque backgrounds means you'll never be looking at something dull.
The biggest takeaway (by far) is the music. Uta is a Jpop star through and through and every musical number is as catchy as the last. Each song is accompanied by a fun choreographed dance, and animation that pulls it off flawlessly. The visuals when Uta performs will far and away be the most memorable part for anyone watching "One Piece Film: Red" and they look like mini music videos within the movie. You'll be replaying the songs and the scenes in your head for days long after the movie is done.
It's all brought together in a gorgeous final fight that finally gives the movie some quality action. Even with dozens of brightly colored characters on screen, and flashy finisher moves every second, you won't get lost in the battle. The camera keeps it all in check and tracks the action very well. Music, action, characters, and story finally work together well in the final moments of the movie.

The glory of a lasting franchise like One Piece, is despite the negatives and the filler, you can always at least something to enjoy. I was never as engaged as I wish I was, but to say I was disengaged would slight what I truly did enjoy about the film.
To me, this says it best: there are scenes I sincerely can't wait for someone to clip and post online, but I never want to watch "One Piece Film: Red" as a whole again.

Without mincing words, "Ryouma! The Prince Of Tennis Shinsei" is absolute batshit in all the best ways. It was everything I could have ever asked for in a bad movie and if that's what you're looking for too, then get out of this review and go watch the insanity for yourself.
It's difficult to give "Prince of Tennis" a score and write a review because all the "negative" aspects just enhance the experience. Leave all logic at the door, and strap in for a ride.

-Story-
I'll admit I don't know much about the "Prince of Tennis" franchise, but didn't feel too alienated going in. ... You can pick up the necessary information (and that's very little) in the plot setup and hit the ground running into the minefield of crazy.
The story will lull you into false security with its cliché kidnapping premise, but has more than enough head-scratching "What the heck?" moments to keep you wondering what in the world will happen next. Logic won't get you from point A to B in "Prince of Tennis" -- plot points just happen, everyone thinks with their tennis racket, and there are story elements I'm still waiting for an explanation on. The movie clearly lacks the writing ambition to make their cheesy clichés anything more, but I'd be lying if I said I didn't love it more for that.
If you're the type to yell at your screen when characters make nonsensical choices, or contrived plots get you down, this won't be the story for you. If you can love it for its shortcomings, you'll be smiling in return.

-Art and Sound-
The clear elephant in the room is the art. Most people don't take kindly to fully CG anime, and one look at the poster makes sure you know this won't be the one to change minds. Still, I held out hope it would all look better in motion. That hope was sorely misplaced. The main character models look the best and get a lot of help from lighting in the scene, but they never quite look good. Minor and background characters make you feel gross inside and out when you look at them; the feeling brings the whole movie down. Comparing it to PS2 cutscenes feels unfair to the good graphics the console had.
The music on the other hand had no reason to be this catchy. Mere seconds after the movie starts, it launches into a j-pop dance performance I wish I could get out of my head. Anytime a character plays tennis, you can bet they are going to sing about it. Each number is so nonsensical and forced, I couldn't help but anticipate where the next one would be crammed in. Each one felt like a gift, the icing on top of this stupid, goofy movie and I'm eager to rewatch "Prince of Tennis" for these alone.

-Character-
Tennis is clearly the most important thing in the world to these characters, and they don't go much deeper than that. I'm sure through the long standing franchise, these characters have grown and developed in substantial ways, but I struggle to think this movie contributes anything to that. No one will be calling this essential viewing.
Everyone from Ryouma, to his wannabe girlfriend Sakuna, to his father Nanjiro and the villains are one note characters in a story that demands little else. But to the movie's credit, each character is so strongly devoted to their one or two traits you can't help but laugh. It feels like the writers knew very little about the characters and just doubled (or maybe even tripled) down on the few things they did. You get a very clear picture of the characters and their motivations, but sacrificing nuance and depth in the process.


For days after seeing "Prince of Tennis" I smiled a big goofy grin whenever I thought of it -- I still did while writing this. Despite -- and probably thanks to -- all its shortcomings, this movie was one of the most memorable and enjoyable viewing experiences I've had in years. I'm going to rewatch it the next chance I get, and explain the experience to any friend who will listen.
Reviewing this like any other anime feels disingenuous; "Prince of Tennis" is truly the definition of "more than the sum of its parts" and I encourage you to do the math for yourself.

Demon Slayer: Mugen Train is a mixed bag of a movie that baffles me as much as it wowed while watching. The best parts of the anime are carried over and doubled with a feature film's budget, but it also doubles down on what I hated most about season one. Mugen Train is a thrill ride for the senses with even better action and music, but one weighed down by a stagnant story and a main character I'm convinced wants off.

-Story-
Mugen Train picks up exactly where season one ended, with no time to waste. Demon slayer Tanjiro Kamado and his friends board the ... titular train to investigate disappearing passengers. The group allies with Rengoku Kyojuro -- the high ranking Flame Hashira of the Demon Slayer Corp -- and rides the rails to solve the case.
The story doesn't evolve beyond this starting concept until the last twenty minutes. No investigating the mystery, little collaboration amongst the characters, and no real threats or stakes driving us to the climax. Instead, the majority was spent in dream sequences that do more to clutter the runtime than enhance the narrative or our characters. Rengoku's dream is done right -- showing his family life before becoming a demon slayer, his motivation for becoming strong, and the importance of his late mother on the rest of his life. These are things we wouldn't have gotten to see about him otherwise; his dream reveals key character details that make him easier to invest in. However, Rengoku's dreams constantly interrupted those of the others, which are much less worthwhile. Inosuke is shown leading his friends through a cave adventure. Nothing new here -- we already know he sees himself as the superior leader of the group. Zenitsu's dream has him frolicking with Nezuko, a desire that was already made very clear throughout the series. Tanjiro dreams of being back with his family and his regrets leaving them once he realizes this is a dream instead of reality. We already knew Tanjiro had a happy family life, and he's over it pretty quickly after waking up. These dreams could have provided something insightful but instead was squandered minutes that should have been spent setting up the upcoming fight with Enmu, the demon we saw atop the train in the final episode of season one.
Because so much time was wasted in dreams, Enmu felt incredibly underwhelming so the battle carried little weight. Our main characters never take a hit, so they never seem to be in any real danger. The fight that follows is the exact opposite -- a thrilling fight with painful stakes that make every hit feel critical to victory. Without saying too much, the final fight was an exciting way to end the movie even if it was incredibly disjointed from the story up to this point. It very literally came out of nowhere.

-Characters-
Disastrously, Demon Slayer is yet again pulled to the ground by its main character. Tanjiro is never challenged -- in his fights, nor in beliefs. Being shown heartbreaking dreams of his family now amounts to any changes in character, and he has no problems breaking the dream later. Even faster than Rengoku (who outstrips him in experience and skill) Tanjiro makes the unfound decision killing himself in dream will break the curse, and of course it works without any reason to believe it would. It’s revealed the casters have their own compelling reasons for cursing the main characters, but instead of the conflict of opposing viewpoints, it's easier if Tanjiro just knocks them out in a single hit and forgets. Even when taunted with a soul-crushing vision of his family resenting him for living when they didn't, Tanjiro wraps that up neatly with a "Nah, they wouldn't do think that."
His fight with Enmu was the most frustrating of all. Shonen anime are celebrated for intense fights, but there's nothing engaging about a one sided confrontation. Part of the fun comes from seeing your favorite character get bloodied and bruised, but still power through to the victory. Tanjiro is above all that though, and effortlessly beats everything this high ranking demon can throw at him. Enmu does not land an attack on any of the characters in the movie. However, Tanjiro is taken out of commission for the rest of the movie by a single attack -- a normie passenger on the train stabs him with a small knife. We've seen him fight though much worse in the series; it's pathetic. Then, per usual Demon Slayer fashion, we get a regretful and stale demon monologue when Enmu is killed. Instead of humanizing Enmu, sad music plays while he whines about not winning for a minute before his death. It's a baffling decision from the creators; are we supposed to be glad our heroes won, or sad for Enmu because he lost? He was never a sympathizable character, so it doesn’t work both ways.
Despite all the downfalls of Tanjiro, the other characters do fare better. I had major problems with Inosuke and Zenitsu, but they bothered me less this outing. Admittedly, their meager screen time was a big contributor in this, but I was thankful nonetheless. I won't talk much about Rengoku to avoid spoilers, because he is far and away the prime character for this movie. I do wish he got more moments to develop but for someone who only had a glorified cameo in the anime, the writers efficiently got him the emotional weight needed to carry his scenes.

-Art and Sound-
It's thanks to Rengoku the final twenty minutes contain the best fight in the franchise. For the first time my heart was racing and my toe was tapping to the music. People will be watching this movie again and again for this fight alone. Rengoku brings a new palette of colors to blaze across your screen, and the music made every blade swing as emotional as it was powerful.
While the art direction peaks in the finale, it also falls behind in other places. Mugen Train can is yet another Demon Slayer arc taking place in "dark forest." Demon hunting on a possessed living train sounds perfect for sinister locales and haunting set pieces, but we are instead cursed by mundane designs. The train itself is unfortunately downplayed, with most of the scenes happening on top of the cars or off the track entirely.

The grandeur of the final fight cannot be overlooked; it’s easily the most memorable moment in the film. Unfortunately, it’s also easy to let that high emotional note color the rest of the movie in a better light than it deserves. One incredible fight does not make up for a whole film’s worth of lackluster story, nor does one inherently emotional scene prove good writing and character development. I can admit I enjoyed this movie more than season one for how fast pace and straight forward it is, but I also admit that’s short term enjoyment. The flaws of the movie render an hour and a half practically mute -- filler that I can’t encourage anyone to go watch, let alone pay for. The refusal to truly challenge Tanjiro is becoming a bigger and bigger problem in Demon Slayer, and the lack of true quality in everything outside the animation/action is doing more damage to Demon Slayer: Mugen Train than Enmu ever did.

The emotional reaction I had after watching each episode of Demon Slayer this year was unlike anything I've gotten from an anime before. Never before had a show given me such an intense feeling of disappointment that it turned to gut-wrenching sadness -- I felt like something was wrong with me for not liking such a hugely well received series. Despite waiting this long to let the hype die down, I can't help but feel Demon Slayer robbed me of time better spent.

-Story-
Tanjiro Kamado's journey starts with tragedy in the early episodes of Demon Slayer, as he returns from the local village to find ... his family dead in the snow, and the smell of demons in the air. They've all been murdered -- except for one. Nezuko, Tanjiro's sister, survives the attack, only to be infused with the demonic blood of their assailant. Seeing this, Tanjiro's love for his sister only grows stronger as he vows to protect Nezuko, find the demon responsible for her transformation, and reverse it. In the pursuit of his goal Tanjiro joins the Demon Slayer Corps, an organization of skilled fighters looking to end the terror demons reign through Japan, to strike down the monsters who killed his family.
This is a simple but effective plot, largely due to how likable the main character is from the start. Tanjiro's drive to save his sister is clear in everything he does and easy to get behind as a viewer, and painless to understand. Too often you see shows or movies that take too long to explain the "hook", but Demon Slayer is as simple as it gets. Unfortunately, that simplicity is also its downfall. Even as the plot progresses, it never becomes more complex (for the viewer, or for the characters we're watching.) The story plateaus a third of the way in, and I found myself taking long breaks between episodes because the events were so painfully dull from being easy to predict. I never found that "spark of excitement" the series desperately needed to keep me wanting more.

-Character-
Despite being likable at the beginning, Tanjiro falls to the same undoing as the story. His simple character never changes, and his one-note personality becomes grating well before the halfway point. You know Tanjiro will always say and do the right thing, he will always succeed in the end, and his beliefs are never challenged. While simple, yet likable characters are aplenty in the shōnen genre, Tanjiro lacks that tell-tale power creep to enjoy. After the initial training arc, he does not get stronger in the series or develop new powers or abilities to show off. Anything "new" are just moves we haven't seen yet, or something he remembers deus ex machina style. Even in those "make-or-break" moments, he's hardly in any danger -- Tanjiro fights just as well with broken ribs as he does freshly healed.
Demon Slayer even bails on it's own attempts at character development. When Tanjiro kills a demon we are regularly lectured with their backstory to paint even the worst enemies in sympathetic light, but it’s a failed attempt in every way. Creating empathy for a villainous character is one thing, but this lacks all effectiveness when that character dies seconds later. A better show would have this impact him, make him question his resolve by seeing how the demons suffer just as he does. Instead, Tanjiro forgets as quickly as it happens and we are left with an insufferable ending to a potentially memorable fight.
Other characters don't fare any better. The two main side characters, Zenitsu and Inosuke, seem to be an attempt at comic relief, but only if you think screaming every line is funny. It's an incredible blunder that this anime has not one, but two people whose main character trait involves yelling about anything and everything, but in different ways so there's not even overlap -- just a wider spectrum of screeching. To the show's credit, they are fleshed out with backstories, but that does nothing to remedy their one note natures. You'll have no difficulty finding people who abandoned Demon Slayer when Zenitsu and Inosuke join, and I can't blame them for a second.

-Art and Sound-
It's a shame the characters are so poorly done, because their designs are top class. In a medium known for beautiful eyes, Demon Slayer takes it to the next level of visual design. Each set of eyes adds another level of personality to even minor characters, and by breaking the model of "typical eyes", you'll never see two that look the same in this anime. They say a good character design is recognizable only by it's silhouette, and even minor characters pull this off without seeming overdesigned. The art and design is often the most praised thing about Demon Slayer, and for good reason.
However, that's not to say it's flawless. CG in anime is commonplace nowadays, to the point it's not about if you're using it rather how well you're using it. Demon Slayer falls on the poorer end of that scale. There are several times, especially in the early episodes, where it's painfully obvious 3D models are being used but not to the benefit of the scene. Typically 3D models can allow anime to do interesting things with the camera, and manipulate the scene in ways hand drawing can't. I can't help but feel Demon Slayer doesn't take advantage of that, and plays it safe with fairly standard shots. That's not to say it doesn't show off the art well, but it once again contributes to missing that "spark of excitement" I continued searching for.
Sound runs into the same dilemma. Good sound design is something so natural you don't notice, but even better sounds and music amplify a scene until the two are inseparable in your memory. I don't remember anything especially bad about the sounds and music, but nothing especially good stands out either. Thinking back, it almost feels like a blank slate that could be filled with anything.

It says a lot, when my excitement while watching Demon Slayer only grew when I was getting closer and closer to finally being done. I get a sinking feeling every time I think back on what a slog each episode was to watch, and how much I truly wanted to enjoy this show like my friends do. While I don't understand what they see in Demon Slayer, I can admit to its potential. I wanted to state my issues with Demon Slayer not because I enjoy mocking things people enjoy, but because these can be fixed. With its popularity earning a second season, if these issues aren't resolved then I can see even big fans losing their patience with one-note characters, predictable plots, and great art hampered by lackluster presentation. As things stand now, these flaws are the biggest demon in Demon Slayer.

The most recent venture into the dungeon with DanMachi Season 3 has managed to accomplish nothing over twelve episodes and more than two months -- the whole season is filler through and through. Season 3 is plagued with the worst of the prior seasons, with none of the heart or character moments to make up for it. Simply put, season 3 was a disappointment.

Warning: There will be some minor spoilers discussed in this review.
-Story-
Bell Cranel, the hero of DanMachi, has his world turned upside down when he rescues a vouivre -- a human-like monster with the ability to speak. After taking the creature home ... and giving her a name (Weine), Bell and the Hestia Familia learn she is not only capable of speech but all the same emotions as themselves. Over the season they befriend a whole community of sentient monsters in The Dungeon, who are hoping to live a peaceful life away from the threat of adventurers. With this new knowledge, Bell realizes he can no longer kill monsters indiscriminately like he had before -- but not everyone sees it this way. There are people who refuse to see humanity in these monsters, and they have Bell and Wiene in their sights.
As is, this is not a bad concept for a story -- taking something that was previously clear cut to the characters and adding some gray area. It's clear Bell struggles with this new information; he knows he can't decide the value of another life so similar to his, but the monsters in the dungeon are still a threat. There's a lot of conflict built-in to this plot; it's nigh impossible for monsters and adventurers to co-exist no matter how hard the Hestia Familia tries, or how many minds they try to change. Ideologies clash and Bell has to stick to his beliefs as allies turn against him.
Unfortunately, in practice it isn't as dramatic. With little convincing, Hestia and the rest of the Familia support Bell's choice to harbor Wiene and welcome her as one of their own. The Ikelos Familia -- the group of poachers who had been hunting monsters like Wiene -- are shown to be utterly deplorable, with no redeemable beliefs or qualities. This may be a clash of ideologies, but the Ikelos Familia do nothing to deserve viewer support or sympathy. This is done best with the Loki Familia, who are understandable in their drive to keep monsters out of the surface world, and put down the "uprising" shown in the final episodes. By the time the credits roll on the final episode, however, this leaves little impact on the characters or the world of DanMachi.

-Characters-
The characters in this arc are the clearest evidence that this season was filler. Wiene, the inciting actor in this drama, is quickly reduced to another name in Bell's harem. She's a loli trope who clings to Bell like a younger sister, who's motivations are centered around what would make Bell happy, what Bell would do, how to be closer to Bell. In fact, it's this way for all of the once colorful cast of heroes in the Hestia Familia, including the goddess herself. Instead of acting of their own volition, every single character takes part in an echo chamber to support every one of Bell's decisions. Even Hestia, who clearly has concerns about bringing a monster to the surface world, only shares smiles and nods with Bell when he plans anything. A plot that was ripe with conflict and development becomes barren as even Bell's closest allies don't even hesitate against him.
On the other hand, there's Ais Wallenstein -- a character who has goals in very clear opposition to Bell. It sounds like a fantastic setup: as part of the Loki Familia, Ais wants to kill all monsters (on the surface or otherwise) in order to protect the city, become more powerful, and maintain her Familia's impressive status. All reasons why she and Bell would clash, heightened by the personal friendship/mentorship they share. Bell's accelerated growth (the Liaris Freese skill) is based on his feelings for the blond sword master, so a threat to their relationship could jeopardize his growth or entire adventuring career. So much interesting is going on here, but of course falls flat by the end. While the pair do have an impressive fight near the end, Ais eventually sees things Bell's way (like everyone in his social circle) and by the time the season is over the status quo has returned. The Liaris Freese skill is never mentioned, and they are shown training together again. No lasting impact was done on their relationship, and the pair end the season just like they were at the beginning.
The same thing happens to Wiene. The most important thing to Bell all season, the reason he put himself and his familia at risk, is brushed away by the end and moved to an unidentified location within the dungeon. The relationship between Bell and Wiene ends the season exactly how it was before the season: like she wasn't there at all. That's filler, where "nothing of value was gained or lost."

-Art and Sound-
Like the other entries in the series, season 3 brings competent animation to the table. Despite being explored over three seasons and a spin-off series, the Dungeon always looks exciting. New floors look unique and old ones keep consistent. I appreciate being able to look at a floor and recognize it from past adventures -- it buildings the geography of the world and makes it feel real and explorable. While there is nothing jaw-dropping to see in Season 3, the animators employ some interesting camera shots to make basic scenes a little more exciting. The conflict of the story lends itself to some meaningful fights, and the animation keeps up. These battles driven by emotions were easily the best part of the season, and the voice actors amplify that tenfold. When the characters are given the opportunity to act, their faces do well conveying their feelings, and the voice artists know what to do to get that same feeling from you.

The worst part to me, was how much I wanted this to be good. Every episode I started thinking "this will be the one where it gets good" and it would finally all come together. Then everything would happen like I laid about above and disappointed me, but I still got sucked in. Twenty minutes later they'd end with just enough of a cliff-hanger, just enough thrill, that I'd start the cycle all over again the following week. In the final week, the season ended and I felt like the rug had been pulled out from under me; it never got better, and it never paid off. Thinking back, so much happened in seasons one and two, the story covered so much ground. Instead, it opts to get in Bell's way and keep him planted where he started -- and no growth is a fatal sin for any adventurer.

When trying to review anything, it's important to identify two things within your analysis; what is the media trying to accomplish and how close does it get to that goal? Not every anime is shooting to be the Citizen Kane of the medium or the next Fullmetal Alchemist, and that's okay. When I look at BOFURI, I see an anime about a goofy girl having fun playing an MMO with her friends and making the viewers wish they could be part of that world. This goal is accomplished in it's own colorful and ridiculous way.

-Story-
BOFURI is the story of Kaede Honjō, an airhead girl ... getting introduced to a new MMO by her veteran friend. She enters NewWorld Online as Maple, equipped with little MMO know-how and an aversion to pain. Naturally, she dumps all her distributable stat points into defense so she can take on the game and not feel a thing. It's clear Maple doesn't always know what she's doing, but her unconventional playstyle turns the MMO world upside down with her "so crazy it might work" combinations and "ideas so stupid no one else will do them" strategies. The rest of the series follows Maple ditz-ing through typical MMO fare -- meeting new friends, forming a guild, and taking on in-game events together all while the game developers try to catch-up with their new OP player.
While not bringing much new to the genre, there is an undeniable charm to watching Maple and the rest Maple Tree guild. Their enjoyment is clear and contagious. BOFURI makes me want NewWorld Online adventures of my own, and inspired deep dives into the world of Final Fantasy 14 and Maplestory 2. It will leave you with a clean, happy feeling-- the perfect remedy for a bad day.

-Art and Sound-
Unfortunately, most of my criticisms rest in this category. While the art direction is far from bad (everything is bright and full of color, character designs match/convey their roles well, and you get to see a range of gear and equipment in use by our heroes) it suffers from the same issue as the story. Nothing strikes me as visually unique or continually memorable. The locales, monsters, even some characters look like they could be dragged and dropped into any fantasy anime and not miss a beat. There have been times I've seen fanart from other series and thought for sure it was Maple and the gang until much closer inspection.
Sound works a little better, as they can get away with some fun things in the setting. Most of the time, even when a little off-putting, it enhances the immersion of being in the early days of MMO that's still being worked on.

-Characters-
Maple and her friends are the kind of people you wish you could meet in an online game. Throughout the series they all are very friendly and helpful towards one another, and that builds to a strong sense of trust and comradery by the end. However, just like a friend you meet in an MMO, you don't get to learn much about these characters outside of their role in the Maple Tree guild, and are stuck two-dimensional over all 12 episodes. Even Maple, the main character, gets little development aside from unbelievable power growth. Her mistakes and struggles often turn around into boons within a few minutes.
Even so, the characters are all so welcoming to newbie Maple and the viewer as we enter the world with her, it's hard to get too upset about it. Just like a friend in an online video game, it doesn't really matter if they are "developing" as a person. You just want to have fun together.

That's the biggest thing that holds BOFURI together -- it's so much fun from episode to episode. It may not be the smartest, best animated, or original story out there, but sometimes that's not what you need. BOFURI achieves it's goal of making you want to be there, of making you want to play NewWorld Online, and have adventures with Maple and the Maple Tree Guild. Whenever I've needed to unwind in the past year, I've come back to the world of their game, feeling as welcomed there as I did when I left.

Thinking about season 4 leaves me with a foggy feeling in my brain. I know I watched something, but I can only be bothered to remember the outlines. It's safe to say this was almost entirely a filler season.

-Story-
For an anime I once hailed for being a refreshing entry in the shonen genre, this season is anything but. The Overhaul arc dedicates 17 of it's 25 episode season to a series of small battles interrupted by flashbacks about characters we barely know or care about. The pacing is crushed by these constant backstories, thrown in during the middle of a fight scene just because. ... It was a drag to see these coming, and the temptation was strong to skip through the entire episode until we got back to the plot. By the time we got to the final fight with Overhaul, I couldn't pin down his motivations, nor did I care when Deku inevitably beat him while spouting the same rhetoric. Instead of learning to overcome his limits, or developing into more of a hero, Deku can fuck up his body all he needs without consequence (thanks to Eri) and get off scot free.

I appreciated the second arc for being a much smaller story focused on the students' lives at UA as they prepare for their cultural festival, but it becomes split with another story and neither are given the chance to shine. "Preparing for the festival" is reduced to "talking about preparing for the festival" and I can't even remember what Gentle and La Brava were doing in their sections.

-Characters-
As I mentioned above, there is a lot of time wasted on characters we didn't need. A whole episode is dedicated to Tamaki's backstory, a character we've only seen briefly up to that point, and only see briefly throughout the rest of the season; he didn't merit this development.
An even bigger offender is Nighteyes. He wasn't important before season 4, then he was shown for a few episodes, and then he dies. It's hard to say his tragic death matters when the show and the characters move past it pretty fast. Nothing has changed between pre-Nighteyes, and post-death.

The biggest tragedy in this season was MHA itself. The series has fallen victim to the typical shonen tropes I once thought it would avoid. The flashy fights and feint fallouts were not enough to save it from being missable experience.