Jeoffrey

Everyone lies sometimes; it's normal! We lie to hide our flaws from others or not to hurt others... And then there's Hime, who pretends to be someone she's not because she wants everyone to like her. She uses it for her own benefit, and I just don't like that. According to my moral compass, pretense should be used for protection, not as a weapon. Plus, the way the main heroine uses pretense, enjoys it, and comments on it, seems terribly fake to me. I find it impossible to root for her. I'll go even further, I've been waiting the whole time for the moment when everyone sees through her, the girl has an awakening, a change happens, and the series offers a moral lesson that I can appreciate. But that doesn't happen. Instead, the girl who likes to lie to others finds herself in an environment where everyone is just like her, playing their roles, and being part of a huge theater. The show is about the uncertainty as to what is pretense and what is not, who is honest and who is not, and when is this anime, which has juri in its title, really juri, and when it's just a game. Another thing that really annoyed me was that most of the drama and problems were based on various misunderstandings and coincidences, which I consider boring and even lazy if used excessively. I can't say that I really enjoyed the series, although it is well-animated, and makes quite an effort musically. Out of the four main girls, I could really only end up liking Sumiku, who holds the opinion that real romance does not belong in the workplace, which I can easily agree with. When she has a problem with someone, she can handle it in a completely mature and reasonable way. On the other hand, what I liked was the theatricality of the café scenes. They felt different when the characters were playing their roles, rather than being themselves, and I mostly preferred their performance and their roles in the café to their real selves. Anyway, for me, it was average at best. I will think twice before watching a possible second season. 5/10

The Legendary Hero is Dead! Dead to me after episode four with KamiKatsu... I have nothing against goofy shows with a single good and interesting idea. I don't mind if the animation is not great as long as it conveys an idea or a joke. I don't even mind the ecchi as long as it makes sense within the story. What bothers me is when something is stupid, the story doesn't go anywhere, what seemed original at first soon gets old, and the ecchi aspect reminds me of the most annoying, contrived, wannabe erotic scenes from Fairy Tail. When a comedy series isn't funny, it's a hell of a problem. Humor is subjective, as any critic will tell you. Humor comes in many forms, there's intellectual humor, childish humor, crude humor... The humor in this show felt like the creators were trying too hard, and their efforts were sometimes desperate. And when, at the end of the fourth episode, everything was supposed to be solved by a "golden shower," instead of laughing, I just facepalmed. This is when I knew it wasn't for me. One crazy series where I don't understand even the little that's happening, but at least it makes me roll on the floor laughing, is enough for me this season. To mention at least one positive, I must say that the opening, especially the chorus, turned out very well. Otherwise, I dropped it after the fourth episode. 3.5/10.

I never expected to decide about the rating for this Konosuba spin-off only after the last episode. This was supposed to be a clear 5*, but unfortunately, it wasn't... To start with some praise, the Konosuba series has never looked so good; the animation quality is comparable to the Konosuba movie. Drive did a decent job. However, Konosuba has never been about animation. The slightly half-baked and goofy style that Studio Deen gave to the series fit well with its comedic tone. This brings me to the main problem with this Megumin spin-off – I didn't find it very funny. Initially, I was riding the wave of enthusiasm, feeling like I was back in my favorite world, following my beloved heroine with all her joys and troubles, but the show quickly lost momentum. Hardly anyone caught my attention, all of Megumin's classmates seemed the same, and if you asked me to tell you more about any of them, I would struggle to do so. The only truly interesting characters were Yun`yun and little Komekko. Everyone else was just filler, even Chomusuke. It was kind of bland. I only smiled once or twice per episode, which is not enough for a comedy, and the plot wasn't very surprising or original. The only positive thing about the first six episodes is that I learned some new lore that will probably be reflected in future seasons of the original series. A friend told me that the timing of this spin-off is perfect in connection with what the next Konosuba season should be about, and everything will make more sense next year. I guess I just have to believe him... About halfway through the season, I hit rock bottom regarding energy. I was disappointed that everything at that moment seemed mediocre (except for the animation), and Megumin and Yun`yun couldn't save it for me. After the crimson demon village, my impression slowly improved; my beloved Axis Cult appeared, and I was looking forward to reminiscing about the best parts of the second season. It didn't happen; this part was somewhat funnier, but in terms of inventiveness and craziness, it still lagged far behind the original, and even the twisted priest Zesta and "big sister" Cecily couldn't give it a new dimension. Ultimately, everything had to be saved by the arrival in Axel, which was mostly about nostalgia. In the last three episodes, I had the most fun anticipating when and where Kazuma, Aqua, and Darkness would appear, just like playing "Where's Waldo?" And in the final moments, when everything connected to the original Konosuba and I saw Megumin's first meeting with the others (minus Darkness), I was smiling from ear to ear. For a moment, the series was at the expected 5* level. Perhaps it was ultimately that final moment that tipped the balance in my rating, and I decided to give it a fourth star, albeit weak (6.5/10). After all, it wasn't a completely pointless spin-off. Megumin was still Megumin, and I still like her a lot. The series also made me excited for the new Konosuba seasons and even made me want to rewatch the first and second seasons before that; I doubt that I will ever rewatch this spin-off, though...

Skip and Loafer boasts a fantastic opening featuring a unique animation style that quickly won me over. The show introduces a plethora of characters, and I found myself growing fond of them. Let's begin with the main heroine, Mitsumi, a walking ball of optimism. Hailing from a village, she ventures into the city with dreams of studying and becoming a government employee. Mitsumi's infectious energy and positive outlook on life lend strength to everyone around her. Despite moments of naivety, her sympathetic and entertaining approach to handling problems made every scene with Mitsumi enjoyable. The main hero, Sōsuke, initially appeared as a typical city boy cliché — unnaturally kind yet somewhat distant. However, the series skillfully developed his character, revealing layers of complexity that I hadn't anticipated. Other characters in the spotlight also defied my initial assumptions, with Mika undergoing particularly notable development. Supporting characters were not overlooked, and I grew fond of Mitsumi's aunt Nao. The creators introduced her character adeptly, allowing her to engage in the plot in a fun and experienced way. The series even seamlessly addressed her identity as transgender. The overall atmosphere of the show provided a pleasant glimpse into the various joys and sorrows of student life. Everything felt believable and logical. What surprised me most was the minimal presence of classic romance, the lack of which I actually didn't even mind. Skip and Loafer firmly establishes itself as a student slice of life, with perhaps a hint of romance just to round out the experience. This series was a delightful and unexpected treat for me, aligning perfectly with my taste, and I eagerly anticipate a second season. 8.5/10.

Kubo-san essentially takes the dynamic of Takagi-san and adds an extra layer of cuteness and a more relaxed execution. The series carefully crafts its music, color palette, and character design, and employs various animation techniques, including occasional use of simplified and chibi models. Everything is orchestrated to maximize the show's charm, creating a pleasant and relaxing viewing experience. In Kubo-san, there are no intense dramas; instead, the humor leans toward the cute side. The main heroine, Kubo, stands out as an interesting, nice, and active character. However, there isn't much else to uncover beyond the adorable interactions and Kubo's engaging personality. Junta, the male lead, didn't particularly resonate with me. Like most male heroes in teasing school romances, he's intentionally unremarkable, often overlooked by everyone in the class except Kubo. Unfortunately, I found him rather generic, despite the internal monologues and the authors' efforts to narrate the story mainly from his perspective. In essence, I have the same impression of the main couple as in Takagi-san. As I find myself drawing parallels to Takagi-san, Kubo-san comes off as cuter, while Takagi-san retains the edge in humor and inventiveness. Characters in Kubo-san develop at a faster pace, but when it comes to overall entertainment value, I'm inclined to lean toward Takagi-san. It's tempting to compare Kubo-san with other similar teasing romances that have surfaced in recent years, but perhaps it's unnecessary. When focusing solely on the first seasons, I can confidently say that Kubo-san entertained me more than Nagatoro-san or  Uzaki-chan. When it comes to Takagi, it's a tie, I guess. 7/10

I agree that Farmland Saga (sorry, I couldn't resist) is different, but I don't consider the second season any worse than the first. The core essence remains intact – a complex, well-built, compelling story rich in profound themes and intense emotions. In fact, when it comes to evoking emotions and delving into depth, the second season surpasses the first. The primary theme of the first season was revenge, masterfully explored on various levels. The second season shifts its focus to the journey of self-discovery, grappling with destiny, and contemplating life's priorities. It subtly addresses universal truths, like the cyclical nature of violence, always presented with appropriate drama and impact. The human dramas resonate just as powerfully as the epic battles from the first season. While there may be a decrease in action, it begs the question: were the battles and bloodshed truly the essence of the first season, or merely a backdrop? The series maintains its authentic portrayal of Viking society, capturing the harshness and grit of that era. It introduces a host of compelling characters, with Hada standing out as a personal favorite this time. Animation-wise, it's flawless, with MAPPA once again handling the reins with grace. The music is truly excellent, evident throughout the series, complemented by beautiful opening sequences. The creators effectively conveyed their messages in every aspect, taking me on a captivating emotional roller coaster. My perspectives on many characters shifted precisely as the author intended (a notable example being Olmar). For me, it's a solid 9.5/10.

Juna, donning her bear onesie, is back to impart the valuable lesson of not judging others based on appearance. She adeptly demonstrates that bears aren't to be trifled with, smoothly resolving one crisis after another while enhancing her own livelihood. Bears take the spotlight once again, integral to the narrative, and this time, there's a well-aimed direct hit – the series title perfectly encapsulated. The show adheres to its established pattern: a problem surfaces, Juna steps in to tackle it, someone mocks her, and Juna delivers a fitting retort. However, the moments where the protagonist finds satisfaction were the most entertaining and gratifying for me. The finale, featuring an angry Juna, was particularly enjoyable. The remainder of the series unfolds as a likable isekai trying to provide entertainment and cuteness, which it occasionally achieves. Overall, the second season left a positive impression, still earning those three stars. It was more than just good, landing at a solid 6.4/10.

After reading the summary and catching the initial trailers, my expectations for the series were relatively high. After all, it promised to be an adult spectacle exploring an intriguing topic – specifically, the lengths one is willing to go for loved ones. For the most part, it delivered a satisfying experience, unfolding a captivating cat-and-mouse game where characters grapple to outsmart each other. Some ideas and the treatment of the central theme, especially in the confrontation between two fathers in the concluding episodes, were commendably executed. However, I found myself grappling with the believability of certain plot twists. It took some adjusting to accept that Tetsuo is a criminal mastermind, potentially a professional hacker, and that his wife is incredibly fit for her age. Additionally, I still ponder whether a bathtub is a viable means of body disposal, as demonstrated by the main protagonist. Another stumbling block was the series' struggle to generate intense tension; attempts at dramatic buildup fell short for me. Reika, the character for whom Tetsuo went to such lengths, failed to resonate with me. I questioned if Tetsuo ever entertained the notion that his daughter might be somewhat naïve, though I understood that a father doesn't perceive his little girl that way even when she is a grown woman. When factoring in the average animation quality and decent music, my overall experience hovers slightly above average at a 6/10.

A 5-star experience and the best season of Demon Slayer is not going to happen this time around. Entertainment District Arc remains the pinnacle of the series for me, unbeatable. Ironically, both the first and last episodes, those wild, almost hour-long segments, merit the highest rating, but I have several reservations about the rest. What tarnished the impression of this season the most for me? The expected answer might be CGI, or more precisely, anything executed with 3DCG animation — specifically, the fish (the wooden dragons were perfectly fine). These fishy minions appeared notably subpar by Ufotable studio standards; their movements felt weird and unnatural, and rather than being terrifying, they came across as somewhat laughable. Complaints could also extend to moments before the plot unfolded, where boredom occasionally set in. My overall impression was saved by the storyline around a mysterious man from the past, adorned with the same earrings as the main character and his sword. However, the tale involving the swordsmiths didn't quite hit the mark, with the standout moments being those unrelated to the swordsmith village (the mysterious samurai from the past, Nezuko and the sun, Muzan's backstory, and motivation). But my primary issue with this season wasn't the swordsmiths or the plot — it was the villains. The first episode introduced the missing members of the upper demon circle, including new, more terrifying demons than the well-known Akaza. Upper Rank Two and Upper Rank One were so well introduced that they genuinely scared me, prompting the thought, 'If Upper Rank One is this formidable, what the hell is Muzan?' Yet, alongside these impressive demons, there were 'Pot Boy' and 'Coward'—the antagonists of the new season. The creators failed to sell them to me. Compared to the other upper demons, they seemed weak and uninteresting to me, and Pot Boy with his vases and fish, and Coward, who seemed like a crazy Matryoshka, simply couldn't convince me that I should be afraid of them. They didn't evoke as much respect from me as Daki and Gyuutarou, which shouldn't be the case given the hierarchy of demons. Even at the very end, they couldn't evoke anything in me. Surprisingly, both Hashiras received better and more detailed treatment than Tengen in the previous season. However, the problem is that Muichirou, who got much more space, is ultimately no more interesting to me than Mitsuri, and in the end, I couldn't like them as much as Tengen and Kyoujurou in the previous series. The animation is stunning in some moments; for me personally, the most impressive moment of the whole series was probably the graceful entrance of Mitsuri (the scene with the backflip under the moonlight) or all those beautiful colors when Tanjirou used one of his techniques, especially in the last episode. Unfortunately, there were hardly any longer uninterrupted passages. These cool animation moments only came for a while and sporadically, nothing like the long fireworks displays of color in the previous season, which would give me an animation orgasm. The same goes for the dynamic camera, which I love about Demon Slayer; it appeared quite often only in the first (Infinity Castle) and the last episode (the chase in the forest), and then during the fight with the dragon heads, which seemed less frequent than what I'm used to. On the bright side, the music stood out, contributing well to certain passages. Despite falling short of a 5-star experience and not being the best season, this season earns a 7.5/10 compared to other anime series.

At first glance, this seemed like just another run-of-the-mill isekai where the protagonist effortlessly acquires overpowered abilities. The overwhelming loudness, with creators seemingly trying too hard to infuse energy into character voices, even gave me a headache. However, I found some solace in the initial slower development of the main character. Witnessing his first steps, initial training, and the evolution of extraordinary abilities like in Mushoku Tensei suggested the series might offer more than the usual isekai clichés. Despite the chaotic and hard-to-digest narrative, and silly jokes accompanied by cheap music straight out of a below-average grotesque, occasionally, it hinted at substance. Nevertheless, by the third episode, it became too much to bear. The moment the hero, still a child, encountered two girls and the inevitable 'Now you have to marry us!' line was approaching, the embarrassing circus that unfolded around it made me throw in the towel. I dropped it after the third episode, giving it a 3/10.