Jeoffrey

Sometimes, it just so happens that foreigners create a better animated show about samurais than the Japanese themselves right before that. I appreciate that the series doesn't shy away from blood, violence, or nudity. There are several interesting and unexpected twists that kept me engaged throughout. The pacing is good, and there's a noticeable chemistry between the characters, allowing me to overlook a few logical flaws. Animation-wise, it's a pretty solid effort with a style that fits the overall atmosphere. The camera mostly knows what it's doing, showcasing shots effectively. The music is generally fine, especially when it sticks to traditional Japanese motifs. However, the sixth episode takes an odd turn, feeling as if Amie Doherty suddenly thought she was directing a new Mortal Kombat and someone convinced her that a mediocre cover of Metallica is exactly what the samurai series needs = the music in the sixth episode is mostly horrible, or rather, it doesn't fit at all. Nevertheless, I had a pretty good time with the show. Although I'm not entirely sure if I'm eagerly anticipating another season. I have certain ideas about where the series could go, and a continuation in the style of "The Blue-Eyed Samurai in London" doesn't really appeal to me. Still, considering what I saw, I'd give it a 7.5/10.

The last anime I watched in 2023 left me with some mixed feelings. On one hand, I found Terakomari quite likable; she struck me as cute and endearing. In both design and behavior, she even reminded me a bit of Taiga from Toradora!, a character I really adore. However, on the other hand, I was somewhat bothered by the fact that half of the characters seemed fixated on getting intimately close to the heroine, leading to occasional cheap fan service and various innuendos. Given the physique of the main character and my lack of interest in costumes and maids, it becomes a bit of a hurdle for me, something that doesn't quite resonate. The concept of death, or rather "when you die, you'll be back in a while," doesn't particularly appeal to me either. Thanks to it, there's a lack of fear for anyone, nothing feels final, and I understand the dark organization's motive to break this system – which might not be where the story intended to lead me. At least the characters don't behave entirely irresponsibly, and the series consistently emphasizes that nobody actually wants to die because dying, in general, isn't pleasant. What did work for me was the humor, or simply the whole premise built on the weakest vampire having to behave like the strongest warrior in the world. It brought a smile to my face at the beginning, along with some other gags that revolved around it. The animation surprised me; while it mostly looked ordinary, the creative team clearly put effort into important scenes. As a result, some fights actually looked quite vivid, colorful, and intense. I particularly enjoyed the final one with lots of swords, probably because of Unlimited Blade Works. Overall, it's a slightly above-average show for me. 5.5/10.

What can I add to what I've already said in my previous review? My appreciation for this world continues to grow, with more unique variations of dragons catching my eye. I learned some additional rules and uncovered intriguing lore. The animation once again impressed me, and this time, I even took notice of the music. Likewise, the story itself proved to be quite decent. These are the positives. Unfortunately, in this prequel, Balgo is an even dumber character! He's not just a more annoying Ichigo; but Denji after a lobotomy, on a leash... This single character outright ruins the whole experience for me, which could have been above average otherwise. Even that supposedly cool moment when Balgo doesn't behave like a complete idiot won't redeem him in my eyes (unlike Noel). 5.5/10.

While in Japan, there are Shinigami and Hollows, in England, they have witches and dragons. At first glance, it might seem like apples and oranges, but the acronym SSWB  (which stands for Soul Society West Branch) tells a different story. In short, it's Tite Kubo at it again; his trademark character designs are unmistakable. One of the main heroines seems like a more mature (not limited to a specific body part) and taller version of Rukia, while the second one bears a resemblance to Hiyori, accompanied by a short-haired and taller Orihime—here, it's Macy. The similarities continue, and unfortunately, Ichigo, that is, Balgo in this case, seems even more annoying and dumber – a feat that some might find hard to believe. Anyway, I've had a glimpse into an intriguing world; it's like Bleach meets Dragon Hunters, with occasional nods to Harry Potter. Evidently, this world has many rules and peculiar elements to offer. Even animation-wise, it is quite unique; Studio Colorido did a commendable job, capturing me visually. I do have a few qualms about the characters, Balgo being the main problem, but overall, they manage to intrigue me. So, if this is another Tite Kubo project that eventually gets a full anime treatment in the future, even at the length of Bleach, I'll definitely give it a shot. This sneak peek was quite enjoyable. 6/10.

The second season of Jujutsu Kaisen could have been a 10/10 - anime of the year, delivering an unforgettable experience filled with unexpected twists, darkness, and suffering. But no. The animation hell called MAPPA once again went full throttle without any breaks, unfortunately burning out countless promising animators in the process. However, as a consumer, my primary focus should be on the product itself. I did enjoy The Witcher 3, even though many game developers suffered during its creation, and it's still a topic of discussion today. Despite this, I have enough empathy to acknowledge that it's not right. If MAPPA had better scheduling, there could have been at least some space for animators to rest during the second half of the season. We're used to having recap episodes for a six-month anime. What annoys me even more than the fate of the animators is imagining how the product could have looked with better execution and without a change in animation style. Now, at the end of the season, it's clear why there was a change in animation style, why the characters are slightly less detailed, why they no longer have such defined outlines - because when you want to fight with them like crazy throughout the whole season, they are easier to animate/draw, and when something escapes you, it's not such a big deal with those finer outlines. This is the Gainax/Trigger school for me, or rather, I've seen a similar drawing style and its use for dynamic movement in anime from these studios in the past. But back to the problem. If you have an episode where the fights occasionally look completely confusing, in other places, you can see a decrease in frames (even noticing that is a problem), or you realize the insufficient detailing of what little there was to detail, your 10/10 experience slowly falls apart in your hands. When one of the animators declares that one released episode was only 30% finished, it doesn't matter if it still looks better than most of the competing anime that aired that week. I don't want a 30% product; I want to see the 100% version. It annoys me that I can only imagine how great it could have been. That's not cool! Giving the series a 10/10 and raving about it being the best thing I've ever seen is disrespect for human suffering, and claiming that a 30% demo version is better than 100% is nonsense. So, I got rid of the "elephant in the room," let off some steam, and even though I might come back to it later, it's time for praise now. In what way is this season better than the previous one? In the number of battles? Definitely. However, there is a question of quality and quantity. If I put all the fights from the second season next to those from the first season, would they be better? The second season has a different style, faster, more dynamic, more efficient, but slightly less impactful and visually captivating - which again is due to the fact that it's not finished animation-wise. On the other hand, most of the fights are more significant for the story, and much more dramatic. What makes the second season significantly better than the first is the story itself and the handling of individual characters. When the manga readers promised us the "most powerful moments" from the whole source material, they weren't lying. What the story did with Nanami, what it did with Nobara, and how it portrayed them, how animation and music worked in these moments - made them emotionally striking. Unlike the fights, these were the 10/10 moments of the whole season. Simply put, it's dark, it doesn't hold back, and it still makes sense plotwise and from a human perspective. Yuuji himself made an impression on me. He is an indomitable hero facing events that would bring anyone to their knees. The dramatic aspect was perfect. The music aspect was mostly flawless. The tension was palpable. And I'm back at the beginning; this is 10/10 material, an unforgettable experience full of twists, and a possible candidate for anime of the year. But with all the controversy, it just doesn't deserve a full score from me. However, let's face it; with the qualities this series has and as an appreciation for what the animators have ultimately achieved even in inhumane conditions (and now they're probably looking for another job or the nearest tree since MAPPA already announced another season), I don't want to give it less than 5 stars, as it would also be a form of disrespect. But those are the most bittersweet stars I'll give out this year. 8.8/10.

In my view, a solid ending to a slightly above-average show. Once again, the 3DCG animation, while generally tolerable, manages to deliver a few noteworthy moments here and there. However, it doesn't quite reach the level of exceptionalism or stand out as the best in its category. The musical score falls into the realm of average, lacking any particularly memorable tracks. It serves more as a background complement to the atmosphere, that you probably won't even notice and it certainly won't make you search for the soundtrack. The narrative picks up where the series left off, with some logic holes and occasional instances of characters acting silly. The main problem, leading to a global threat in the end, stems from a misinterpretation of a written text. This underscores the importance of not just reading but truly comprehending the message. Despite these narrative hiccups, the world's lore remains a highlight for me. Most of it is presented interestingly and acceptably, even though certain aspects were hinted at in the series. While the film isn't exactly mind-blowing, save for the ending, it lands as a decent watch, earning a 6/10 rating from me.

A delightful celebration of human imagination and creativity, this anime is a warm trip down memory lane for those who experienced the quirky charm of the '90s and still remember things like floppy disks, non-flat monitors, and computers running on operating systems other than the ubiquitous Windows, working with BIOS and even 8bit and 16bit animation. It's a celebration of otaku craziness, whether your passion lies in cute anime girls, graphic novels, or historical technology. There's a plethora of collectibles and fan-worthy content to enjoy. Adding a dash of time travel into the mix, the causality of which becomes dysfunctional with even the smallest involvement of the brain. However, there's the challenge of tolerating a heroine whose voice resembles a chipmunk that overdosed on helium – it might genuinely hurt your ears.  Aoi Kogu, known for her work in Kaguya, showcases her versatile voice acting, but unfortunately, Konoha feels like another version of her Paimon voice from Genshin Impact, which, let's face it, can be a bit grating. While the series has its enjoyable moments, there's an equal measure of frustration. Konoha's often baffling behavior and the series' handling of the consequences of time travel left me less than impressed. The involvement of a mysterious higher power in the form of Echo 1 to 3 felt rather strange. On the positive side, I found myself recalling forgotten historical tidbits and recognizing retro games and anime like Di Gi Charat and Kanon. Despite my aversion to the main heroine, the last episode managed to move me a bit, leading me to label the overall experience as mildly above average. 5.5/10.

Best season of Tokyo Revengers, featuring the highest stakes, the greatest dangers, and the most sacrifices. Our hero is at the top of his game, and I thoroughly enjoy witnessing his unwavering determination. Finally delving into the main antagonist's motivation is intriguing, but the series falls short in evoking any pity for him. Kisaki stands as an example that while genius is admirable, lacking empathy can be a downfall. Izana, though not as impactful as Taiju from the previous season, brings an interesting aspect to the story. However, what didn't sit well with me, or rather left me genuinely disappointed, was how Takemichi's secret was revealed to the others. Anticipating it had to happen, I expected a better execution. The ending feels somewhat abrupt, hinting at a possible continuation, but I'm unsure what extensive issues they still aim to address. Despite this, the season was eventful, delivering several unexpected surprises — a solid drama overall. I'd rate it 8.4/10, marking it as the best season of Tokyo Revengers, but it narrowly missed a 5-star rating from me.

Despite being labeled as a special television film, it stands up in quality just like a regular episode of the series. The supposed slightly better animation only lasts a few minutes, humorously acknowledged by the creators. I must say, I admire their ability to poke fun at various things, including their own controversies from the previous season, like the city demanding money back due to the series' portrayal of the black market for human organs or the uncertain future tied to crowdfunding results. For those not following the anime news closely, these references might go unnoticed, but personally, I found them enjoyable. The film delivers a standard crazy comedy with a handful of good jokes, a few misses, a touch of violence, and a bit of space for the myriad familiar characters, nearly twenty in total, so they don't have much room to shine individually. I'd rate it 5.5/10 – it was nice to remember the snake creature, and I wouldn't mind seeing more episodes.

If you're expecting Zom 100 to deliver a realistic zombie apocalypse akin to The Walking Dead or The Last of Us, you might be in for disappointment. Zom 100 isn't centered on the zombie apocalypse; it's more of a backdrop, a narrative device to enhance the story's impact. So, what's at the heart of Zom 100? For me, it's a celebration of the strength of human will and a love for life. In essence, it sends a powerful message that individuals never give up and always have dreams. The series encourages us to view human life as a fleeting moment in the vast universe, urging us to make it meaningful so that we have no regrets. In Zom 100, the zombies aren't the real enemy; a person can be a zombie even without an apocalypse. The first episode beautifully illustrates this concept, not just through its narrative and atmosphere but also through its brilliant use of colors. The series emphasizes the importance of enjoying life, employing the simplest means – contrast. The stark difference between gray and colorful, life and death, surrender and determination... The creators use these contrasts to instill in the viewer the idea that the main focus is to relish life. They are willing to exaggerate and bend the laws of physics, embracing anime's freedom, even throwing in absurdities like a zombie shark and it works – as long as you're not expecting logic and realism. For some, the protagonist jumping off a roof onto a group of zombies might seem far-fetched, but in the context of anime, it works beautifully. I do understand that what works in anime, where physics can be bent and effects heavily embellished, may look quite silly in a live-action film, but I don't feel the need to find out if I'm right. I thoroughly enjoyed the series; it boasts one of the best openings that resonates with a love for life, complementing the overarching theme. However, I'm a bit disappointed that the production faced challenges, leading to a three-month broadcasting hiatus. This hiatus significantly dampened the excitement I initially had for the show. When the last three episodes were released, instead of feeling an intense urge to watch them immediately, I found myself thinking, "Well, it waited this long; it can wait until tomorrow." While I appreciate that the studio BUG FILMS prioritizes the well-being of its employees, openly addressing the unacceptable practices of some other companies, to ensure all episodes are at 100% quality, not just at 30%, a three-month broadcasting gap still has its drawbacks. If I had binged the series all at once or even with a weekly break, I might be inclined to give it more than a strong 4 stars. On the other hand, it could also be seen as my fault; I can choose to watch series all at once when the final episode is released rather than continuously. Regardless, as a consumer, I believe I'm always right and shouldn't have to adapt, so 8.4/10.