Spring 2024 Wrap-Up

An underwhelming finish to what originally felt like a competitive spring season.

Note: I omitted “Mission: Yozakura Family” and the “Spice and Wolf” remake from this season’s review post since they haven’t finished airing. Expect them to appear in my summer 2024 wrap-up. The final two episodes of “Sasakoi: Whisper Me a Love Song” have been postponed indefinitely. Once they’re released, my review for the show will be included in my review for the season the episodes air in.

Spring 2024 summarized in a single still

TL;DR If you’re only interested in my ratings:

• Originals

  • Grandpa and Grandma Turn Young Again - 8/10

  • The Many Sides of Voice Actor Radio - 8/10

  • Yorukura: Jellyfish Can’t Swim in the Night - 8/10

  • Train to the End of the World - 7/10

  • Hensara: A Salad Bowl of Eccentrics - 6/10

  • Studio Apartment, Good Lighting, Angel Included - 6/10

  • A Condition Called Love - 5/10

  • Gods’ Games We Play - 4/10

• Sequels

  • Date A Live (Season 5) - 9/10

  • Spy x Family Code: White - 9/10

  • Konosuba (Season 3) - 9/10

  • Laid-Back Camp (Season 3) - 7/10

Originals

Grandpa and Grandma Turn Young Again (Gekkou)

Shouzou and Ine Saitou have been married for nearly sixty years, maintaining a steadfast love despite not achieving wealth or taking a honeymoon. They spend their days peacefully tending to their apple orchard and enjoying visits from their loving family.

One day, while caring for the apple tree they planted on their wedding day—damaged by a recent typhoon—they discover a golden apple hanging from a branch. Deciding to eat it at home, they wake up the next morning to find themselves miraculously young again.

In their rejuvenated bodies, Shouzou and Ine embrace life like never before. They dive into modern activities together, such as participating in a sports festival and playing video games. As they relive the joys of their youthful love, their romance rekindles, inspiring similar feelings in the younger members of their family.

Plot: 8/10 - At the start of the season, I expected the show to send Shouzou and Ine back in time to their high school days. Instead, only their physical bodies change, while they retain their old souls and humorous accents. If you were hoping for an explanation as to why Shouzou and Ine become young again after a night's sleep, let me be the first to tell you that it doesn’t happen. All we know is that by manipulating an hourglass, they can transform at will. Personally, I didn't mind the lack of explanation, as the supernatural element isn't the focus of the show. Instead, it centers on everyone’s reactions to Shouzou and Ine’s transformations, which is the show's main source of humor.

While the comedy certainly adds to the show's appeal, it also emphasizes the importance of family and not taking things for granted. Although I wasn't a fan of the episodic nature and was hoping for a more straightforward, traditional storyline, it didn't detract much from my enjoyment of watching Shouzou and Ine relish their newfound youth.

One of the best moments of the show was when Shouzou gave up half of his lifespan to extend Ine's life, who would have otherwise died within a week of the summer festival. It was a truly sweet gesture, made even sweeter by the fact that he kept it a secret. Lastly, I didn't cry at the end because I was in denial, but thinking about it more, Mino and Shouta finding Shouzou and Ine dead in their sleep in the apple orchard was quite bittersweet.

Characters

• Protagonists: 10/10 - This anime does an incredible job of showing how Shouzou and Ine's relationship came to be. Despite not being meant to marry each other and facing familial opposition, they made it work. Some might think that their behavior around each other resembles that of immature middle schoolers, detracting from the credibility of their marriage, given that they've been together for nearly sixty years. But consider this: Shouzou and Ine's seemingly immature behavior upon regaining their youth is a realistic and heartwarming portrayal of rediscovery rather than immaturity. After decades of facing life's challenges and responsibilities, their transformation allows them to experience the joys and excitement of youth once more. This newfound vitality brings a sense of wonder and adventure, encouraging them to explore life with the enthusiasm and spontaneity they might’ve missed or forgotten over the years.

  
  Furthermore, their behavior emphasizes the theme that age isn’t just a number but also a state of mind. By acting like middle schoolers, they aren't being unrealistic but rather reconnecting with the innocent and carefree aspects of their relationship. This rekindles their romance and serves as a powerful message about the enduring nature of love and the importance of maintaining a youthful spirit, regardless of age. The charm and humor derived from their actions contribute to the show's appeal, illustrating that love can be playful and joyful at any stage of life. Thus, this portrayal will likely resonate with audiences who appreciate the lighter, more whimsical aspects of romance, making Shouzou and Ine's journey a central and endearing part of the anime's narrative.

• Supporting Cast: 8/10 - While the Saitou family includes many supporting characters, I found the subplot involving Mino and Shouta particularly well-written. It's clear that these two have mutual feelings for each other, but they’re too shy or embarrassed to act on them. Fortunately, Shouzou and Ine provide the extra push and encouragement needed to help their friendship blossom into something more. By the end of episode 11, we see that it has worked out for the two of them as they’re about to repeat the cycle by eating the golden apple of youth. I would’ve liked to see more of Yoshiaki’s relationship with his wife Kaede. However, I struggle to think of what a compelling subplot for them would be. It would’ve been nice to see the show explore love and relationships across three generations.

Genre: 8/10 - Last season, I rated two romance shows a perfect 10: one depicting a middle school relationship and another set in college. This anime fits seamlessly into the romantic spectrum, completing the quadfecta. Due to its episodic nature, I can't give it a perfect rating. Nevertheless, it holds significant merit in portraying what love is like after years of enduring life's ups and downs together.

Art/Animation/Design: 7/10 - This is the first anime I've seen from Gekkou, and they did a great job with the art, animation, and design. I found the use of bold outlines particularly interesting, as it made the foreground elements stand out more. Additionally, the background design was another element that really impressed me.

Music: 7/10 - The opening theme by Koresawa is incredibly catchy and features a nice variety of visuals. Although I wasn't initially impressed with the ending theme and its accompanying visuals, it did grow on me slightly over time. The show's soundtrack excels at underscoring the more serious moments of reflection and introspection, particularly for characters like Shouzou and Ine.

Final Score: 8.3 > 8

Would I recommend? Yes, but only if you’re a fan of fluffy romance anime. I don't think this show will appeal to the masses, but it’ll definitely be a hit with the right audience. It’s a casual, wholesome, and slightly innovative addition to the competitive romance genre.

The Many Sides of Voice Actor Radio (Connect)

Yasumi Utatane, a seasoned voice actor, works diligently to maintain her public persona as a pure and innocent idol, despite her struggles to secure more roles in the competitive industry. Beneath this façade, however, Yasumi is actually Yumiko Satou, a high school gyaru who prefers wearing loose clothes and flashy jewelry, a stark contrast to her professional image.

Yumiko's fortunes take a turn when she lands an exciting opportunity to co-host a radio show with Yuuhi Yuugure, a voice actor she deeply admires for her talent and charming looks. However, Yumiko is shocked to discover that Yuuhi is actually her gloomy classmate, Chika Watanabe. As they collaborate on their radio program, Yumiko and Chika begin to open up to each other. Through their partnership, they support one another and gradually learn to embrace their true identities.

Plot: 8/10 - “The Many Sides of Voice Actor Radio” emerged as an unexpected hidden gem in this season. Although it didn't receive as much attention, this show offered a refreshing and insightful look into the voice acting industry, setting itself apart with a compelling narrative and engaging characters.

The character development is a standout aspect of the show. Yumiko's growth from a façade-maintaining idol to a determined voice actress is portrayed with authenticity. Chika, serving as both a rival and mentor, helps Yumiko realize her potential, while also dealing with her own struggles. Their dynamic, while sometimes strained, feels genuine and relatable.

Another positive is the show’s behind the scenes look at the voice acting industry. The show offers a detailed depiction of recording sessions, the pressures from producers and fans, and the often harsh realities faced by voice actors. It highlights the demanding nature of the profession and the emotional toll it can take.

The anime also explores darker themes such as doxing, stalking, and the toxic culture surrounding celebrity life. This is especially relevant given recent discussions around the treatment of idols and voice actors in Japan (see “Oshi no Ko”). The show effectively balances these serious issues with its more lighthearted and comedic moments.

Despite its strengths, “The Many Sides of Voice Actor Radio” is not without flaws. The yuri undertones, while present, often felt shoehorned into the plot. The initial setup suggested a potential romantic relationship between Yumiko and Chika, but this subplot was inconsistently developed. Their interactions sometimes seemed forced to fit the yuri trope, detracting from the overall narrative.

Additionally, the resolution of Chika's arc, particularly the doxing incident and her mother's ultimatum to quit voice acting, felt too contrived. The arc's conclusion was wrapped up in a way that felt unrealistic and overly convenient, undermining the show’s otherwise grounded portrayal of industry challenges.

Characters

• Protagonists: 10/10 - Yumiko and Chika are well-written characters who bring depth and relatability to the show. Yumiko showcases a remarkable resilience and determination throughout the show. Despite the pressures of maintaining a dual persona, Yumiko's unwavering commitment to her dream of becoming a successful voice actress is inspiring. Her ability to balance the demands of her idol persona while striving to improve her craft demonstrates a commendable work ethic and tenacity.
  
  Chika, on the other hand, offers a contrasting but equally compelling perspective. As the introverted and serious Yuuhi Yuugure, Chika's dedication to voice acting is evident in her meticulous approach to her work. Her calm and composed demeanor often masks a deep-seated passion for her craft, which she reveals in subtle but powerful ways. Chika's role as both a mentor and rival to Yumiko highlights her generosity and willingness to support others, even as she strives to achieve her own goals. Her growth throughout the show, particularly in overcoming personal insecurities and embracing her unique strengths, is portrayed with nuance and sensitivity.

• Supporting Cast: 7/10 - The supporting cast adds depth and variety to the story, though some characters stand out more than others. Mekuru, a fellow voice actress, initially comes off as snotty and spoiled but gradually reveals a more nuanced personality. Her development is one of the highlights among the secondary characters, showing that she can see reason and adapt, integrating well into the main cast's story.
  

  Kagasaki, Yumiko's agent, serves as a motherly figure to Yumiko, especially given her single mother's work schedule. While Kagasaki’s role is largely confined to her professional duties, her occasional moments of personal concern for Yumiko add a layer of warmth to their interactions. Sakuranamiki Otome plays a similar role acting as an older sister figure for Yumiko, with a goal of eventually surpassing her in the voice acting industry.
  

  Sugishita, the director introduced in the final arc, is a more contentious figure. While he aims to guide the young voice actors, his methods often come off as arbitrary and lacking in constructive direction. This portrayal highlights the sometimes harsh and unyielding nature of the industry, but his character could’ve benefited from more depth and clarity in his motivations.

Genre: 8/10 - This anime shares thematic similarities with “Oshi no Ko” and this season’s “Yorukura,” as all three explore the dark underbelly of the Japanese entertainment industry. Like “Oshi no Ko,” which offers a gripping portrayal of the idol world’s harsh realities, “The Many Sides of Voice Actor Radio” sheds light on the intense pressures voice actors face from talent agencies, obsessive fans, and the need to constantly prove their worth in a highly competitive environment. Both anime underscore the corrupt and exploitative nature of the industry, emphasizing the emotional and mental toll it takes on young talents.

While “Oshi no Ko” focuses on the broader idol industry and the extreme measures individuals take to maintain their public personas, “The Many Sides of Voice Actor Radio” zeroes in on the voice acting niche, providing a more specific but equally compelling narrative. Both shows strive for realistic portrayals, though they approach their subjects from different angles—”Oshi no Ko” with its intense drama and “The Many Sides of Voice Actor Radio” with a blend of personal growth and professional challenges.

In contrast, “Yorukura” touches more lightly on the idol industry’s pressures. It highlights the ruthless drive needed to climb to the top, but without going as deeply into the darker aspects of fan obsession and agency exploitation. Nonetheless, it complements the other two by adding another layer to the portrayal of the entertainment world, illustrating the diverse challenges faced by those seeking fame and success in Japan’s idol scene. Together, these shows offer a multifaceted view of an industry fraught with challenges, revealing both the allure and the peril of pursuing a career in entertainment.

Art/Animation/Design: 7/10 - The art and animation are solid and consistent, fitting well with the slice of life and dramatic elements of the story. Produced by Silver Link's subsidiary studio Connect, the anime delivers clean visuals that effectively convey the narrative. Character designs are distinct and well-suited to their personalities, with Yumiko's dual personas as Yasumi Utatane and her real self being particularly well-done. The animation, while not reaching the heights of more visually ambitious series, is sufficient for the show's needs, handling both the mundane and more dynamic scenes with finesse. The visual presentation supports the narrative effectively, even if it doesn't particularly stand out.

Music: 7/10 - The music perfectly complements the show's narrative without overshadowing it. The opening and ending themes, performed by the lead voice actresses Miku Itou and Moe Toyota, are catchy and embody the show's themes of perseverance and friendship. The background score sets the mood for various scenes effectively, whether it's a lighthearted moment or a tense recording session. While the soundtrack may not be groundbreaking, it harmonizes well with the story and characters, providing a pleasant auditory backdrop to the unfolding drama.

Final Score: 8.2 > 8

Would I recommend? For sure, yes. If you're a fan of drama or curious about the entertainment industry, “The Many Sides of Voice Actor Radio” is a must-watch. It offers a unique and insightful look into the world of voice acting, portraying the personal and professional challenges faced by its main characters. With its well-developed characters, realistic depiction of industry struggles, and a compelling mix of serious themes and heartfelt moments, the show provides a captivating narrative that resonates on many levels. It's an engaging show that highlights the resilience and growth of its protagonists, making it a rewarding experience for audiences looking for depth and authenticity.

Yorukura: Jellyfish Can't Swim in the Night (Doga Kobo)

In the vibrant city of Shibuya, four girls who feel disconnected from the world around them come together to form an anonymous artist group called JELEE. Mahiru Kozuki, a talented illustrator, had abandoned her artistic dreams after her jellyfish mural was ridiculed by classmates in elementary school. Now, years later, she still longs to reignite her passion for art.

Her life takes a turn when she meets Kano Yamanouchi, a former idol with a troubled past, who admires Mahiru's work and encourages her to pursue her dreams once more. Inspired by Kano's faith in her, Mahiru agrees to design the mascot for Kano's new music project. To bring this vision to life, she reaches out to her childhood friend, Kiui Watase, a professional streamer and vtuber, to help create their first music video. They’re soon joined by Kim Anouk Mei Takanashi, a pianist and dedicated fan of Kano's previous work.

As Mahiru, Kano, Kiui, and Mei work together, they realize that by combining their unique talents and perspectives, they can achieve something truly extraordinary. Striving to make JELEE a global sensation, they must also confront and overcome the shadows of their pasts. Through their collaboration, they discover that by supporting each other, they can shine brighter than they ever could alone.

Plot: 7/10 - "Yorukura" starts off strong, immediately drawing you in with its depiction of the artistic process and the chemistry among Mahiru, Kano, Kiui, and Mei. The first two-thirds of the show are particularly well-done, showcasing the girls' journey as they navigate online content creation. Their characters are well-developed, and their interactions feel natural and heartfelt, making the first few episodes a joy to watch.

However, the show starts to stumble around episode 9, where pacing issues become more evident. An argument between Mahiru and Kano leads to them cutting off communication, and their reconciliation in the finale, marked by a hug and cheerful words, feels unrealistic and sudden given the intensity of their last exchange. Similarly, Kano's mother, Yukine, attempts to make amends with Kano without having shown any previous remorse, which comes across as unconvincing. Additionally, it feels odd that Mero, a member of Sunflower Dolls and one of Kano’s ex-idol groupmates, is the one to restore Kano's confidence to sing. Although Mero gradually changes her opinion about Kano in the episodes leading up to the finale, this moment still felt abrupt. The brief scene of Kano and Mero hanging out also feels off, especially considering their fallout.

Kiui's storyline also suffers from pacing problems. Her middle school trauma is revisited and resolved in a single episode, culminating in an outburst at an arcade in front of three newly introduced characters. This resolution should’ve occurred earlier in the show rather than being rushed into episode 11.

Another issue is the handling of Mahiru and Kano’s relationship before episode 9. Kano’s kiss on Mahiru’s cheek in episode 5 and their subsequent interactions suggest a deeper relationship, but the show ultimately fails to commit to this angle. Given the ratio of yuri bait to actual yuri shows I've seen, I shouldn't be surprised, but it doesn't make it any less frustrating to witness.

Overall, the show has a lot of good elements, but unfortunately, it fumbles the execution.

Characters

• Protagonists: 8/10 - Having said that, I still enjoyed watching our core four characters grow and overcome their pasts, even if their success varied. I was invested in each of them, eager to learn more about their journeys and to watch them succeed. I loved watching Mahiru challenge herself to become a better artist. I admired how determined Kano was to ensure JELEE's success. I enjoyed seeing Mei, initially presented as an unhinged Nonoka stan, gradually reel herself back as she got to know Kano better. And I loved Kiui for being unapologetically herself—and, of course, for being a vtuber.

• Supporting Cast: 7/10 - From what I’ve read online, the general consensus is that Koharu and Baba Shizue should’ve been cut from the show. Koharu's potential is never fully realized, and Shizue's episode, though enjoyable, feels like it sacrifices focus from more critical character arcs. As much as I liked both of them individually, I’m inclined to agree that their episodes could’ve been replaced to allow for a better exploration of Mahiru and Kano's relationship or given more attention to Kiui’s character arc.

Genre: 9/10 - When I think about coming of age stories, I usually think of shows like Aobuta, Clannad, Oregairu, and Skip and Loafer. You’ll notice that all of those titles have some sort of romance going for them, but even without romance I think the way “Yorukura” addressed issues like bullying, hopelessness, and parental abuse was praiseworthy enough to put it next to them. Had the show better handled its more dramatic parts, I would’ve given this category a perfect 10.

Art/Animation/Design: 8/10 - The show is a visual feast for the eyes. For an original anime, the art and animation are exceptional, demonstrating the creative might of Doga Kobo. I'm not quite sure how to describe it, but the character design in "Yorukura" manages to be both simple and unique. The music videos from JELEE, which serve as special ending themes, show improvement over time, symbolizing the core four's development as emerging artists.

Music: 7/10 - I initially rated the music in the show higher, but upon further reflection, none of the songs left a lasting impact on me. The tracks produced by JELEE were good, but that's all they were—just good. Unlike “Bocchi the Rock,” where every song by Kessoku Band felt like a perfect fit for the show, the music in “Yorukura” didn’t resonate as strongly. I'm not saying the songs were bad, but for a show centered around music, I expected some of the music to stick with me after it ended.

Final Score: 7.65 > 8

Would I recommend? Yes, but with a few caveats. "Yorukura" delivers a visually stunning experience and has some really fun character dynamics. However, the show is written very loosely, leading to rushed resolutions and some incomplete plot points. Certain characters don’t get enough attention, and some storylines feel underdeveloped, which might leave you feeling a bit disappointed. So, while I do recommend this anime, beware that it has its flaws and doesn't quite reach its full potential.

Train to the End of the World (EMT Squared)

The introduction of the 7G Network was hailed as a groundbreaking technological leap, but its implementation brought unforeseen chaos to Japan. The aftermath saw drastic alterations to the landscape and strange mutations among the populace, changing life as it was known. In the small town of Agano, one of the last few remaining settlements, those over the age of 21 have inexplicably transformed into animals.

High school student Shizuru Chikura is determined to find her missing friend, Youka Nakatomi. When she finds a photograph in a newspaper suggesting Youka is in Ikebukuro, Shizuru prepares for the journey. With public transportation down, her travel options are scarce. Help arrives in the form of Tairo Zenjirou, an elderly, forgetful conductor and the only human adult in town, who teaches her to operate an abandoned train.

Determined to reach her friend, Shizuru sets off on her mission. On the day of departure, her classmates—Nadeshiko Hoshi, Reimi Kuga, and Akira Shinonome—spontaneously join her. Together, they embark on a perilous journey, facing unknown dangers far beyond those in Agano.

Plot: 7/10 - The show’s unpredictability is a major strength, with each episode presenting new, surreal challenges. For instance, the girls arrive in a town where inhabitants have mushroom heads due to spores released by the 7G malfunction, providing both comedic moments and tension. In another episode, they meet a zombie queen ruling over a community of the undead, blending horror elements with humor. The show's structure allows for a wide range of imaginative scenarios, contributing to rich world-building and keeping the plot fresh.

However, the episodic nature can become repetitive, with each train stop introducing a problem that the girls must resolve before moving on. This formula, while entertaining, sometimes feels like a series of disconnected adventures rather than a cohesive narrative. The ending is particularly problematic, with the final episode rushing through critical plot points, including the long-awaited reunion between Shizuru and Youka. This reunion, which should’ve been climactic and emotionally charged, is brief and underwhelming. The resolution of the 7G incident also feels hurried, lacking the depth needed for a satisfying conclusion.

Moreover, some plot elements stretch the boundaries of believability, even within the context of a fantastical world. For instance, the idea that the girls can communicate with Zenjiro via Morse code by hammering on the railroad tracks, despite being miles apart, is a bit far-fetched. While these moments add to the whimsical nature of the show, they can sometimes pull audiences out of the story due to their implausibility.

An extended episode count could’ve benefited the show, allowing for a more fleshed-out conclusion and deeper exploration of the story's intricacies. Despite these flaws, “Train to the End of the World” remains a unique and entertaining experience, showcasing a world where the bizarre and the heartfelt coexist.

Characters

• Protagonists: 7/10 - The dynamics and interactions between Shizuru, Reimi, Akira, and Nadeshiko drive the story forward, providing both humor and emotional depth. Shizuru, the group's de facto leader, is a well-developed character, embodying both determination and vulnerability. Her guilt over her last interaction with Youka and her unwavering resolve to find her friend add depth to her character arc. Reimi, the emotional and physical powerhouse, provides much of the comic relief and is a standout character with her infectious optimism. Akira, the intelligent and logical one, often acts as the voice of reason, balancing the group's dynamic with her analytical approach. Nadeshiko, while less developed, serves as the peacemaker and moral compass of the group.

  
  The main criticism lies in the uneven character development. Shizuru and Akira receive significant narrative focus, while Reimi and Nadeshiko feel somewhat underdeveloped. Nadeshiko, in particular, lacks a distinctive arc, making her feel like a supporting character rather than a protagonist. The dialogue, although lively, can sometimes feel unnatural, which may detract from the viewing experience for some.

• Supporting Cast: 7/10 - The supporting cast, including characters like Zenjiro, Neko-nii, Kuroki, and the old man in the duck boat, adds some variety to the show. These characters are often memorable and contribute to the episodic adventures of the main group. Zenjiro provides comic relief and occasional wisdom, making him a standout among the supporting characters. However, the transient nature of many supporting characters means they often lack development. They appear for one episode and are then forgotten, which can make their contributions feel fleeting and sometimes superficial. The recurring characters who do reappear add some continuity, but overall, the supporting cast is more about adding flavor to the main plot rather than driving it.

Genre: 7/10 - “Train to the End of the World” stands out in the CGDCT and post-apocalyptic genres by blending them with elements of surreal comedy and adventure. Compared to other CGDCT series, this anime offers a more unique and unpredictable experience, steering away from the typical slice of life narratives. Its post-apocalyptic setting adds a sense of urgency to the otherwise lighthearted genre.

While the show excels in its creativity and genre-blending, it may not appeal to all fans of CGDCT or post-apocalyptic series. The surreal and often absurd nature of the plot can be controversial, and audiences looking for a more traditional or coherent narrative might be disappointed.

Art/Animation/Design: 8/10 - The art and animation are vibrant and dynamic, adding to the show's unique atmosphere. The character designs are typical of CGDCT series, but the settings are quite abstract, making each location feel distinct and imaginative. While the animation quality fluctuates between episodes, the overall visual experience remains engaging. The intentional use of different art styles in key episodes, such as the fight against the mangakas in episode 10, illustrates the show's creative approach.

Music: 7/10 - The music is well-composed and enhances the show's atmosphere. The opening theme, "GA-TAN GO-TON" by Rei Nakashima, is a catchy and energetic track that perfectly sets the tone for the show. In contrast, the ending theme, "Eureka" by Rokudenashi, offers a darker, more introspective conclusion to each episode. While it may not be groundbreaking, the music effectively supports the narrative and deepens the immersive experience of the show.

Final Score: 7.05 > 7

Would I recommend? Yes, but with some reservations. This anime isn't for everyone, especially for those who are new. Its mix of surreal comedy, post-apocalyptic adventure, and CGDCT elements creates a polarizing experience that may not appeal to all audiences. However, for those who value originality, creativity, and a touch of the bizarre, this show offers a memorable and entertaining ride. Fans of shows that embrace their wackiness and push the boundaries of traditional narratives will find much to enjoy. Despite its eccentricities and occasional flaws, “Train to the End of the World” is a wild and imaginative journey that captures the essence of what makes anime such a versatile and engaging medium. It may be strange, but it's definitely not a train wreck (sorry, I had to).

Hensara: A Salad Bowl of Eccentrics (SynergySP, Studio Comet)

Sōsuke Kaburaya is a struggling detective who encounters Sara Da Odin, a princess from another world with magical abilities, while on a case. They start living together, and Sara quickly adapts to modern-day Japan. Meanwhile, Livia Do Udis, a female knight from Sara's world, also arrives but ends up living as a homeless person, surprisingly finding joy in her new circumstances. The story follows Sōsuke, Sara, Livia, and a cast of eccentric characters including a tough lawyer, a religious leader, and a divorce agent, as they navigate their intertwined lives in a blend of comedy and drama.

Plot: 6/10 - "A Salad Bowl of Eccentrics" offers an intriguing premise, but its execution leaves much to be desired. The plot is fine, but it feels disjointed due to the starkly different stories it flips between. On one side, we follow Sara and Sōsuke, a duo engaged in detective work. Their dynamic is endearing, with Sōsuke acting as a father figure to Sara, who navigates the typical experiences of an elementary school student. This aspect of the story feels grounded and relatable, providing a comforting anchor amidst the chaos. Conversely, Livia's storyline spirals into bizarre territories. Her journey from homelessness to becoming an advisor for a doll-making company led by Noa, a cult leader, felt a bit too outlandish for my liking. Her involvement in a band with Noa and Puriketsu, Livia’s former co-worker, further adds to the confusion, especially when their major debut is rushed after a montage of performances in the final episode. The abrupt conclusion, with the Noa’s arrest for insider trading, left me bewildered and unsatisfied.

The biggest missed opportunity has got to be Sara and Livia’s home dimension—a world where Oda Nobunaga gained magical powers and rules over Japan. This fascinating backstory is merely mentioned in passing and not explored further. Instead, the show leans heavily into its slice of life elements, which aren’t particularly engaging and often left me indifferent about the next episode. I’m not one to drop any show I pick up, but it really felt like I was ticking off a checkbox on my weekly watch list.

Additionally, the heavy emphasis on tourism for Gifu Prefecture is noticeable; the show's frequent focus on this aspect often feels over the top, pushing an agenda too hard. While I didn't mind it entirely, at times it seemed to detract from the narrative flow.

Characters

• Protagonists: 7/10 - Individually, Sara, Sōsuke, and Livia are fun and interesting protagonists. But as I mentioned earlier, I was really disappointed by how the show kept Sara and Livia apart for 90% of the time. In their home world, they were quite close, but on Earth, we rarely get to see this relationship demonstrated. In fact, Sara and Sōsuke didn’t even know Livia was in a legitimate band until they saw a news report about Noa’s arrest. Additionally, their magic felt underutilized. We see Sara use her powers a handful of times in the first half of the show while Livia relies on her athletic abilities. While I understand they’re trying to adapt to a new society where magic doesn’t exist, I feel like there were opportunities to use it appropriately.

• Supporting Cast: 6/10 - Some supporting characters are compelling and add depth to the story, but their potential is often overshadowed by the chaotic main plot. Greater focus on these characters would’ve allowed the show to explore their backgrounds and motivations more thoroughly. For instance, the relationship between Sōsuke and his father, Isao Kusanagi, is fraught with bitter feelings and regret but remains underdeveloped. Similarly, Akira “Suzuki” Suzukiri, the homeless man and former author whom Livia lives with at the start of the show, had the potential for a more significant role. On the other hand, some supporting characters felt unnecessary. Brenda, a lawyer who works with Sōsuke, and Haruka, Sōsuke’s former kohai, failed to captivate, and their romantic subplot centered around Sōsuke didn't really interest me.

Genre: 5/10 - This show falls short when compared to other reverse isekai series like “Miss Kobayashi’s Dragon Maid” and “Ya Boy Kongming.” It attempts to blend comedy, drama, and fantasy but doesn't quite hit the mark consistently. While it has its humorous and touching moments, it lacks the depth and innovation seen in the previously mentioned titles.

Art/Animation/Design: 6/10 - The art and animation are fine but not particularly memorable. The character designs are appealing and complement the show's whimsical tone. While the animation quality is generally consistent, there are a few questionable sequences, such as one karaoke performance reduced to a simple slideshow and a finale episode that inexplicably includes POV footage of a real-life pachinko machine. The backgrounds and settings are sufficiently detailed, creating a believable depiction of modern-day Japan. However, the show doesn’t push any boundaries in visual creativity or technical prowess, leaving it feeling somewhat generic.

Music: 5/10 - The music in the show is unremarkable. Both the opening song by Wanuka and the ending theme by Meiyo Densetsu, along with their visuals, are fairly average. They didn't particularly excite me, but they weren't bad enough to make me skip them either—I felt indifferent. The background score fulfills its role in complementing both comedic and dramatic scenes, but there are no standout tracks that significantly enhance the viewing experience.

Final Score: 5.95 > 6

Would I recommend? No. While "A Salad Bowl of Eccentrics" is ambitious in its scope, the uneven pacing and disjointed subplots detract from its potential. The show might appeal to those who enjoy eclectic storytelling, but for many, it may feel like a salad bowl of too many mismatched ingredients.

Studio Apartment, Good Lighting, Angel Included (Okuruto Noboru)

Shintarou Tokumitsu lives a typical high school life in his cozy studio apartment. However, his world turns upside down one morning when he discovers an angel on his balcony. This sweet and kind angel, Towa, has been sent to Earth by God to learn about human interactions. Towa quickly grows attached to Shintarou, who reluctantly agrees to let her stay with him.

Living together in a small apartment presents its challenges, with little space and privacy, and keeping Towa's true identity a secret proves tricky. As Shintarou adapts to his new life with Towa, interactions with other girls threaten to further complicate their unique situation.

Plot: 6/10 - The anime lacks a traditional plot, focusing instead on Shintarou adjusting to his new life with Towa, teaching her how to live among humans, and interacting with other supernatural beings. This setup is decent at best and boring at worst. By the end of the 12 episodes, it feels like our protagonists haven't undergone significant changes, which is a major issue I have with the show. It's largely forgettable and served primarily as a brief escape from my daily routine this past spring.

Characters

• Protagonists: 6/10 - Shintarou significantly lowers this score for me. His extreme ordinariness makes him a bland protagonist, to the point where I feel the show would’ve been more enjoyable with only the supernatural cute girls in a slice of life setting. His interactions with Towa reveal his good-natured personality, but he's often clueless about romance and oblivious to others' feelings. Despite his dull personality, he develops a crush on Towa, adding complexity to their relationship, which is built more on trust than romantic attraction.

• Supporting Cast: 6/10 - The show features a predominantly female cast, including some supernatural beings, which adds diversity but also follows standard rom-com tropes. Aside from Noel and possibly Hisui, the supporting characters lack significant development. Tsumugi, the only non-supernatural girl in Shintarou's harem, remains the token childhood friend with unreciprocated feelings, while Lilishika's interest in Shintarou is limited to his smell and blood. In general, I found it difficult to connect with Tsumugi, Lilishika, or Hisui. The lack of plot progression made it challenging to invest myself in the show, leaving me questioning why I should care about these characters.

Genre: 5/10 - The show fits neatly into the rom-com and harem genres. While it doesn't break new ground, it distinguishes itself with its supernatural twist. The show leans towards lighthearted romance and everyday adventures, avoiding controversial angles and focusing on character interactions.

Art/Animation/Design: 6/10 - It was fairly standard: nothing remarkable, nothing terrible. The character designs of the supernatural girls were fine.

Music: 7/10 - The music suits the show's casual rom-com vibe, but it's not particularly memorable. Yui Ogura's opening theme and SoundOrion's ending theme are decent.

Final Score: 5.85 > 6

Would I recommend? Eh, not really. “Studio Apartment, Good Lighting, Angel Included" is a rom-com that will likely be overlooked this season. It doesn't stand out among its contemporaries due to its lack of major character development and reliance on common rom-com tropes. While the colorful cast and supernatural elements provide some charm, the show ultimately fails to set a new standard for the genre. It's a decent watch if you have nothing else on your list and want a standard, easy-to-pick-up rom-com. Keep your expectations in check and prepare for a typical rom-com experience.

A Condition Called Love (East Fish Studio)

Hotaru Hinase has spent nearly sixteen years without experiencing romance. Content with her life, she finds joy in the small things and cherishes the time spent with her friends and family. She believes that love isn't meant for her and doesn't quite grasp the concept.

One day, while out with a friend, Hotaru witnesses a harsh breakup involving her schoolmate Hananoi, someone she’s never interacted with before. Later, she sees him sitting dejectedly in the snow and kindly holds her umbrella over him. This small act of kindness leads to an unexpected development—Hananoi confesses his feelings for her at school the next day. Despite Hotaru's initial rejection, Hananoi is determined to win her over. He goes to great lengths to impress her, changing his hairstyle and even finding her lost hairpin in the snow.

Though Hotaru doesn't have romantic feelings for him, she decides that spending time with Hananoi might teach her about love. She agrees to date him and begins to learn what it means to be a girlfriend, including how to respond to the thoughtful gestures Hananoi continues to make for her.

Plot: 5/10 - Watching "A Condition Called Love" was a rollercoaster of emotions for me, swinging between moments of enjoyment and frustration. It somewhat redeems itself towards the end by revealing Hananoi's long-standing love for Hotaru, dating back to elementary school. This backstory garners some sympathy for him but doesn't change the fact that he felt insufferable for most of the show. There were times I thought we were heading towards a Joe Goldberg situation, which might’ve been more intriguing.

Ironically, Hotaru says Hananoi taught her “change isn’t always a bad thing,” yet he seems the most resistant to change. He only engages with others because it would make Hotaru happy, but remains cold and distant to everyone else. The show could’ve benefited from a reorganization of events. Starting with Hananoi's abandonment might’ve made his possessive behavior more understandable rather than painting him as a sociopath for the first half of the season. The mystery of his motivations is negligible and doesn't drive the plot forward. Hotaru, being new to love and romance, inadvertently enables his behavior, blurring the lines between what’s right and wrong. This was super frustrating to watch, especially when none of the supporting cast was willing to intervene.

Characters

• Protagonists: 3/10 - Hotaru is portrayed as innocent but comes across as naïve due to her lack of romantic experience. Her middle school trauma added some depth, explaining her fear of falling in love. However, this trauma didn't realistically impact her ability to form friendships or participate in social situations, making her character feel inconsistent. Hananoi is a bundle of contradictions. His possessiveness and stalker-like tendencies are unsettling, yet these behaviors are often dismissed as him trying too hard. His fear of abandonment contributes to his obsessive nature, but this doesn't justify his actions. His character design might make him tolerable at best, but his actions overshadow any potential for growth. It was difficult to root for his relationship with Hotaru, as his obsessive nature was too much to deal with.

• Supporting Cast: 5/10 - The supporting characters, including Hotaru’s friends Hibiki "Kyo-chan" Asami, Tsukiha "Shibamu" Shibamura, and Yao Sōhei, added some needed variety to the storyline. They had some standout moments, such as pointing out Hananoi's obsessive tendencies and Yao calling Hananoi out on not telling Hotaru about their shared past. These instances brought some much-needed conflict and tension to the story. However, these moments ultimately fell short of leading to any significant consequences for Hananoi's behavior. The supporting cast had the potential to drive the story forward but failed to create a lasting impact, leaving me wanting more from their interactions. Their roles often felt underdeveloped, serving more as background figures than integral parts of the narrative.

Genre: 4/10 - In comparison to other shoujo series like last season’s "A Sign of Affection," "A Condition Called Love" didn’t meet my expectations. While "A Sign of Affection" handled its characters with sensitivity and care, "A Condition Called Love" seemed to try too hard to be different, often at the expense of creating an enjoyable viewing experience. The typical shoujo elements of high school romance were present, but they lacked the charm of better shows. The anime's attempt to tackle complex emotions and flawed characters was commendable, but the execution was lacking, making it difficult to connect with the story.

Art/Animation/Design: 6/10 - The production quality was average. While the studio's efforts were evident, many scenes felt static and uninspired. The character designs were typical and lacked the memorable animation that could’ve brought them to life more vividly. There were occasional moments where the animation excelled, particularly in emotionally-charged scenes, but these instances were rare. The art and animation were fine but did little to elevate the show.

Music: 6/10 - Although I didn't enjoy the opening theme, the ending theme by Mina Okabe was charming and fitting for the show. The rest of the score was decent but nothing memorable, doing little to enhance the emotional beats of the story. The opening theme failed to capture the essence of the show and felt out of place, while the ending theme provided a much-needed sense of closure and emotional resonance.

Final Score: 4.5 > 5

Would I recommend? No. "A Condition Called Love" is definitely a polarizing show. Some might appreciate its attempt to tackle complex emotions and flawed characters, but I found it difficult to overlook its shortcomings. The constant emphasis on obsessive love, combined with unlikable characters and average production quality, made it a mixed experience that leaned more towards disappointment. The potential for a meaningful and engaging story was there, but it was overshadowed by poor execution and an inability to fully develop its characters and themes. If you're a big shoujo fan, it might be worth a watch, but don't expect it to reach the heights of more well-written shows.

Gods’ Games We Play (LIDENFILMS)

When Leoleshea, a dragon deity, is unintentionally awakened from her icy slumber, she demands the finest game player of the current era be brought to her. After a year-long wait, she encounters Fay Theo Philus, an apostle—a human bestowed with a supernatural power called Arise, granting him the right to challenge gods in various games. Fay and Leoleshea discover a mutual love for games, whether they involve cards or intellectual duels against divine beings. Impressed by Fay, Leoleshea permits him to call her "Leshea" and teams up with him to compete in the gods' games.

Since the gods granted humans the ability to challenge them, they’ve promised to fulfill any wish after ten victories. Leshea's wish is to regain her status as an official god, which she lost when she descended to the human world. Fay's sole objective is to find the woman who taught him the art of gaming.

Although Leshea and Fay quickly prove to be a formidable pair, the gods aren’t inclined to grant them ten victories easily: each game has its own distinct conditions and concealed rules. The duo must work in perfect harmony to achieve their aspirations.

Plot: 4/10 - The premise initially promises a thrilling and strategic narrative but quickly falls into predictability and mediocrity.

While the overarching goal is clear, the Fay and Leshea’s journey lacks substantial twists or meaningful developments. The pacing is uneven, frequently interrupted by excessive exposition and game rules, which detracts from the immersion and excitement.

Ouroboros' game in episode 4 is an example of the plot's shortcomings, as it feels too easily resolved and lacks the depth expected from a high-stakes game scenario. Conversely, the desert game in episode 7 stands out as one of the more engaging and well-executed episodes, providing a glimpse of the show's potential.

Episode 6 is a particularly convoluted parody of the “Yu-Gi-Oh!” card game. It attempts to mimic its complexities by using a board game format but ends up being overly intricate and difficult to follow. The sheer amount of text and rules to keep track of makes the episode feel dense and cumbersome.

Additionally, the plot point involving the woman who taught Fay to play games as a child is introduced early on but isn’t revisited until the final episode. This lack of narrative continuity and resolution is disappointing and leaves a significant character motivation underdeveloped.

The final episodes attempt to ramp up the tension but fall flat. The speedrun of the labyrinth in the finale feels rushed and unsatisfying, missing the opportunity to explore the intricacies of the labyrinth. The final boss fight, marred by random ability spamming and a lack of coherent strategy, is a disappointing conclusion to the show.

Characters

• Protagonists: 5/10 - Fay and Leshea are central to the show yet fall short of being compelling. Fay is portrayed as a brilliant game player, but his victories often feel unearned due to a lack of depth and personality. He wins games seemingly because he’s simply smarter, which diminishes any real tension or stakes. In episode 10, Fay's unnecessary second round of Old Maid feels like an indulgence rather than a narrative necessity, further highlighting his overpowered nature. Leshea starts as an intriguing fallen god with a love for games, but her character doesn’t develop much. Her background as a former god isn’t adequately explored or expanded upon. This leaves her character arc feeling incomplete and reduces her role to merely tagging along with Fay, with no real display of weakness or growth. Pearl and Nel also lack complexity, with Nel's loss to the Bookmaker in episode 9 being one of the few unpredictable moments, though it’s short-lived as Fay steps in to save the day.

• Supporting Cast: 5/10 - The supporting cast, including characters like Miranda, Uroboros, Dax, Kelritch, and Ashlan, do little to enhance the story. Dax, who declares himself Fay's rival in episode 5, feels more like a joke and fails to match Fay's level. His performance in subsequent episodes is underwhelming and doesn’t establish him as a credible threat or competitor. Uroboros' sudden appearance and “deus ex machina” role in advancing the plot was confusing and seemingly random. She assists Fay and his party past difficult points in the labyrinth by inflicting heavy damage on boss monsters, but her purpose remains unclear and feels like a convenient plot device. The supporting characters are introduced but lack significant development or memorable traits, making their interactions with the protagonists feel superficial.

Genre: 4/10 - When compared to other strategy game anime like "No Game No Life," "Gods' Games We Play" struggles to stand out. The show struggles with originality, feeling more like an imitation rather than a fresh take on the genre. The strategic elements of the games can be engaging, but the lack of innovation and the predictable nature of the outcomes diminish the overall impact. The complicated nature of some episodes and the lack of stakes in others, fail to capture the same level of excitement as its better-executed counterparts. Additionally, the excessive fan service felt out of place, detracting from the serious tone the show attempts to maintain.

Art/Animation/Design: 5/10 - The vibrant colors used in the game scenes are reminiscent of "No Game No Life" and provide a nice aesthetic. However, the animation quality is standard at best, with some character designs being reused with minor edits. The production quality feels lackluster, suggesting that the animation team wasn’t fully invested in the project. The use of a grainy filter during the games, meant to denote the god's domain (the Elements), is more annoying than artistic. The show doesn’t take full advantage of its potential for creative and dynamic visuals, resulting in a rather average presentation.

Music: 6/10 - The music is one of the more positive aspects of the show. The opening theme is energetic and memorable, setting an upbeat tone for each episode. However, the ending theme doesn’t leave as strong an impression and feels more generic. While the soundtrack adds some value to the show, it’s not enough to compensate for the other shortcomings. The opening theme played during the final boss fight fails to elevate the lackluster climax, and the background music throughout the show does little to enhance the mood or tension of scenes.

Final Score: 4.45 > 4

Would I recommend? Given the predictable plot, underdeveloped characters, and lack of originality, I wouldn’t recommend this anime to anyone. While the strategic elements and vibrant visuals may appeal to some, the execution falls short of what makes a compelling and engaging anime. Fans of the strategy game genre would be better off watching more established and well-written shows like "No Game No Life."

Sequels

Date A Live (Season 5) (GEEK TOYS)

Shidou Itsuka faces his greatest challenge yet as his ties with Ratatoskr put him in grave danger. Having successfully sealed ten Spirits, he now confronts the threat of Isaac Westcott, the ruthless leader of Deus Ex Machina Industries, who aims to kill Shidou and steal the Spirits' powers.

Isaac launches a full-scale assault on Ratatoskr, forcing the organization to use all its resources to keep Shidou safe. Despite overwhelming odds, hope lies with the Spirit of Time, Kurumi Tokisaki. Shidou must seal Kurumi's powers to travel back in time and confront the Spirit of Origin, the entity responsible for the events that started it all.

Plot: 10/10 - Season 5 feels like a culmination of a decade-long journey, with a narrative complexity that rivals some of the best urban fantasy anime out there. The overarching plot reaches its peak, wrapping up numerous storylines with a level of cohesion and emotional depth that left me thoroughly impressed. This season had strong parallels to "Avengers: Infinity War" and "Endgame," with Mio, the “Thanos” of the season, collecting Sephirah crystals like Infinity Stones and Shidou using time travel to fix everything once all seems lost. The twists and turns, combined with the grand reveal of Mio’s true nature and her devastating impact, made for a thrilling and emotionally charged experience. The war arc, packed with extreme emotion and important character backstories, is a testament to the show's excellent writing. This season doesn't just rely on spectacle; it weaves a cohesive narrative that unveils long-standing mysteries and sets up a grand finale.

However, some audiences might feel that the show's reliance on complex plot devices and numerous callbacks to earlier episodes might be overwhelming. If you haven't been following the series closely, it could be challenging to keep up with all the plot threads. Additionally, the ending, while emotionally fulfilling, does leave a few loose ends, particularly concerning some secondary characters who didn’t get the closure they deserved. That being said, even if we don’t get a sixth season to tie up those ends, I think the ending was good enough to serve as a fitting conclusion to the franchise.

And as an aside, the storytelling was quite reminiscent of the duel between Yusei and Z-ONE in "Yu-Gi-Oh! 5DS," with Mio’s angels bearing names similar to Z-ONE’s trap cards. Considering I liked both the final season of “Yu-Gi-Oh! 5DS” and the final Phase 3 movies of the MCU, it wasn’t ever in doubt that I’d come away from this season feeling satisfied.

Characters

• Protagonists: 8/10 - Shidou has evolved significantly over the five seasons. In this season, he truly comes into his own, balancing the responsibility of saving the spirits with the emotional weight of their fates. His journey showcases his growth from a somewhat passive character to a proactive hero. Shidou's strategy of traveling back in time after witnessing devastating losses adds a layer of depth to his character, making him more than just the center of a harem. That said, Shidou’s character arc, while compelling, occasionally falls back on the harem protagonist tropes. There are moments where his emotional responses seem a bit forced, especially during high-stakes situations. Despite these minor issues, Shidou remains a solid and engaging protagonist.

• Supporting Cast: 8/10 - The supporting cast shines in this season, with each character playing a crucial role in the unfolding drama. Kurumi in particular stands out, transforming her from an overhyped character into a complex and tragic figure. Nia’s witty humor added a much-needed lightheartedness amidst the intense battles and emotional moments. The combination of the spirits’ powers to take down Westcott showcased their growth and unity. However, the sheer number of characters sometimes made it difficult to give each one the screen time they deserved, leaving some feeling more like plot devices than fully fleshed-out individuals. Characters like Yoshino, Miku, Natsumi, and Mukuro felt underutilized, often reduced to background roles without much development. While the main players (Tohka, Mio, and Kurumi) received ample attention, the season could have done a better job of balancing the focus among Shidou’s harem, which I didn't fully realize had grown so large until now. Additionally, Westcott's persistence as a villain sometimes felt excessive, and his refusal to die was frustrating. His motivations initially seemed shallow, but the revelation of his true nihilistic and sadistic nature redeems his character, eliminating any need for sympathy and making his eventual downfall more satisfying.

Genre: 9/10 - Season 5 firmly establishes "Date A Live" as a standout in the harem genre. While early seasons leaned heavily on the traditional tropes of the genre, this season breaks new ground by integrating a more complex and emotionally resonant storyline. The balance between fanservice, humor, and intense drama is masterfully handled. The show's ability to evolve from a lighthearted, wish-fulfillment fantasy into a gripping urban fantasy epic sets it apart from many of its contemporaries.

However, some fans of the lighter, more humorous early seasons might find the darker, more serious tone of this season a bit jarring. The shift in tone is significant and might not appeal to everyone, particularly those who enjoyed the series for its initial lightheartedness and comedy.

Art/Animation/Design: 6/10 - While the plot and character development were exceptional, the art and animation of season 5 were somewhat lacking. The heavy use of CGI in action scenes often felt jarring and detracted from the viewing experience. The color palette also lacked vibrancy, making the visuals feel flat at times. Despite these issues, the animation in the final episode was a significant improvement, indicating that much of the budget was reserved for this climactic moment. The blend of 2D and CGI in the latter parts of the season showed potential, but generally speaking, the inconsistency in animation quality throughout the season was disappointing, considering the high stakes and emotional weight of the plot.

Music: 8/10 - The music was a standout element, enhancing the emotional and dramatic moments beautifully. The organs during Mio’s fights were reminiscent of the intense soundtrack from the Yusei and Z-ONE duel in "Yu-Gi-Oh! 5DS," adding a layer of grandeur and tension to the scenes. The opening and ending themes were well-chosen and matched the season's tone perfectly. Miyu Tomita's opening song "Paradoxes" captured the essence of the season, while sweet ARMS delivered a nostalgic ending theme.

Final Score: 8.9 > 9

Would I recommend? Yes. While the franchise is a bit of a hard sell for most people, especially those who are new to anime, the satisfaction season 5 provides makes the journey feel worth it in the end. It’s a triumph, bringing together a decade of storytelling into a cohesive and emotionally powerful finale. The plot’s complexity and emotional depth, combined with strong character development and a compelling narrative, make it a must-watch for fans of the series. While the animation and character design had their flaws, my viewing experience was overwhelmingly positive. This season not only redefined the series but also set a high bar for what a harem anime can ultimately achieve.

Spy x Family Code: White (Wit Studio, Cloverworks)

Loid Forger faces the possibility of being replaced in the critical Operation Strix. Determined to secure his position, Loid hatches a plan to ensure his daughter Anya triumphs in a prestigious cooking contest at Eden Academy. The key to victory lies in preparing the principal’s most cherished dish.

The Forger family embarks on an adventurous journey to the homeland of this special cuisine. However, their quest inadvertently triggers a series of events that could escalate into a global crisis. As the stakes rise, the Forgers must navigate through unexpected challenges, testing their ingenuity and bond. Will their culinary mission save Loid's career and, more importantly, maintain world peace?

Plot: 9/10 - The most notable aspect about the “SPY x FAMILY” movie wasn’t related to the plot itself; it was actually how approachable it was for newcomers and anyone unacquainted with the Forger family. I watched the movie on opening weekend, and coming out of it I recommended it to anyone looking to watch something fun with the kids. And I know I’m getting ahead of myself since I usually save my verdict on recommendation for the end of my reviews, but if you ever wanted to rope someone into watching anime with you, this might be the perfect movie to start them on if they aren’t committed to watching an entire season. The series alone is already beginner-friendly, but for anyone who’s more than skeptical, “CODE: WHITE” might be a good appetizer before serving them the full entrée.

The plot was so close to being a 10/10, except for a few small things that bothered me that warranted me dropping my score to a 9. This isn’t necessarily the fault of the writers; it’s more so having to do with adapting “SPY x FAMILY” into a movie format. The biggest gripe for me was that the microfilm wasn’t the greatest MacGuffin. We’re told that it would instigate an all-out war between the east and the west, but nothing more than that is said. The details were sparse, and the circumstances were vague enough to leave me wondering in frustration.

Type F, the Adam Smasher-esque super solider Yor faced off against at the climax of the film, also confused me. It felt like his character was an afterthought, and while this sequence was beautifully animated, it was difficult to be fully invested in it because it felt like Type F was just there to give Yor someone to fight. And I know I’m supposed to employ some suspension of disbelief with this franchise, but Yor using her lipstick to ignite Type F and surround him in flames was a bit much.

And speaking of being a bit much, Anya’s delusions of her and the “Poop God” were too over-the-top for me. I thought it was funny for maybe ten seconds before I found myself frowning at the fact that “SPY x FAMILY” had resorted to toilet humor. I’m sure others thought it was funny, but these scenes were probably the lowest points of the movie for me.

The ending where the Forgers begin to plan a trip to the south to find the vice principal’s favorite dessert felt slightly clichéd; I would’ve rather seen Anya succeed and show her Stella off to Damian, but I suppose if the writers wanted to keep the movie self-contained, they wouldn’t have the freedom to do this.

The last criticism I have might not even be valid, but I won’t know for sure until “CODE: WHITE” is on streaming or available on the seven seas. Did Loid ever tell Anya the last ingredient was cherry liquor? My gut is saying no because otherwise Anya wouldn’t have considered Loid freaking out about her knowing about it (right after she reads Bond’s vision of where the cherry liquor is located). When Loid finds Anya on the airship, the cherry liquor falls out of her bag, and Loid thinks nothing of it. If this is the case, it’s a glaring plot hole in an otherwise good movie.

The movie starts slow by embracing its slice of life nature, but it escalates quickly in the second half with a ton of thrills and action. The pacing was great, and the movie is ultimately a testament to “SPY x FAMILY’s” ability to excel in multiple genres of anime.

Characters

• Protagonists: 10/10 - Whether you like Loid, Yor, or Anya, all three get equal amounts of screen time in “CODE: WHITE.” Each of them has something going for them, which eventually brings them together when Anya is kidnapped. If anything, I wish Bond was more involved in the second half of the movie, but for what we got, I think Bond was a very good boy.

• Supporting Cast: 7/10 - Fiona has some great scenes, and even Franky gets a scene and half. I thought Snidel was a decent one-off villain; the way he sets the tone by snatching Anya’s meremere was downright cruel, and I knew he was in for it when he defeated Loid in their tasting contest.

Genre: 8/10 - A really good addition to the “SPY x FAMILY” franchise, regardless of its status in the canon. It contains the perfect amount of slice of life moments, comedy, and action - genres that the main show already does well in.

Art/Animation/Design: 10/10 - No surprises here considering the combined might of Wit Studio and Cloverworks.

Music: 10/10 - This was a category I was paying close attention to because of how vital the role music plays in movies in general. The score was really good, adding to the emotional depth of certain scenes and some levity to others. The end credits featuring “Why” by Gen Hoshino and “Soulsoup” by Official Hige Dandism (who worked on ED 1 and OP 1 respectively) were also a nice touch.

Final Score: 8.9 > 9

Would I recommend? Since I already mentioned how “CODE: WHITE” is a fantastic choice for children and newcomers, I’ll use this section to talk about this movie from the perspective of someone who’s completely caught up with the show. While the movie is non-canon, if you want to stick it somewhere on a timeline, “CODE: WHITE” takes place some time before the tennis arc at the end of season 1 and before the cruise arc begins in season 2. Yor meets Fiona during the tennis arc, so it’s reasonable to believe Yor would’ve recognized Fiona from afar. Yet she doesn’t and frets about Loid’s fidelity during the first half of the movie. Towards the end, the Forgers plan a trip to the south to retrieve the recipe for the vice principal’s favorite dessert (since the principal of Eden Academy will no longer judge the culinary contest). Anya expresses her excitement saying she can’t wait to see the ocean and beaches, yet she gets this opportunity during the cruise arc in season 2. Therefore, “CODE: WHITE” should be taking place before then.

It is a bunch of filler, and it’s likely none of the events that transpire in the movie will be referenced in another season. However, that shouldn’t dissuade you from watching it anyway. The elements that make the show what it is shine brightly in these 110 minutes. Take it for what it is rather than what it isn’t, and you’ll definitely come away liking the franchise even more.

Konosuba (Season 3) (Drive)

Kazuma Satou, once a NEET and now a reincarnated adventurer, returns home after the events at the Crimson Demon village. Accompanying him are his dependable yet quirky companions: the self-absorbed goddess Aqua, the explosive-obsessed arch-wizard Megumin, and the masochistic crusader Lalatina Ford "Darkness" Dustiness. After their latest escapades, they inch closer to defeating the Demon King and his army—a daunting task Kazuma would rather procrastinate on indefinitely. However, their journey is anything but smooth. They continually accumulate debt, get sidetracked during missions, and fall into traps due to their recklessness and eccentricities.

As the group grapples with their ongoing troubles, they receive an invitation from a princess eager to hear about their "heroic" deeds. Despite Darkness' protests to decline, the rest of the party enthusiastically accepts, setting off yet another bizarre adventure with unpredictable outcomes.

Plot: 8/10 - This season of “Konosuba” truly stands out as the best yet, thanks to a perfect blend of comedy and character development. The story picks up from the “Legend of Crimson” movie, continuing Kazuma and his party’s adventures in Axel after their latest victory. Kazuma, Aqua, Megumin, and Darkness return with their signature antics, delivering the shenanigans fans have come to love.

One of the most notable improvements this season is the enhanced comedic timing. The jokes are executed with precision, and the long pauses that add to the awkwardness of various situations make the humor even more impactful. The interactions between the characters feel fresh and goofy, making this season's humor some of the best in the series.

However, it’s not just about the laughs. This season also goes deeper into character arcs, offering significant development for several main characters. Megumin begins to show subtle signs of developing feelings for Kazuma, adding a layer of depth to her character. But the standout development is with Darkness. Previously seen primarily as a comic relief character, this season reveals a more complex side of her personality.

Darkness’s royal lineage and the expectations placed upon her clash with her true desires, creating a compelling internal struggle. Her journey this season, particularly her struggle between her duty as a royal and her wish to continue adventuring with Kazuma and the gang, is the best arc the “Konosuba” anime has seen so far. This character development adds a surprising depth to Darkness, making her one of the most well-rounded characters in the series.

Characters

• Protagonists: 10/10 - The dynamic between our beloved idiots remains the heart and soul of “Konosuba.” Their interactions, filled with banter, absurdity, and moments of camaraderie, make the season a joy to watch. Each character brings something unique to the table, and their combined efforts create a hilarious and unforgettable ensemble that continues to drive the show forward.

• Supporting Cast: 7/10 - While the primary focus of season 3 is on the main quartet, the supporting characters still play crucial roles in enriching the story and adding depth to the world of “Konosuba.” Princess Iris' interactions with Kazuma and the rest of the gang highlight different aspects of their personalities, particularly Kazuma's surprising sense of responsibility and protective instincts.

  
  Iris herself is an intriguing character. As the first princess of Belzerg, she embodies the elegance and duty expected of royalty. However, her youthful curiosity and admiration for Kazuma and his group inject a sense of wonder and innocence into the show. Her admiration for Kazuma also serves as a foil to the more cynical and humorous view the main group has of him, providing a refreshing contrast.

Genre: 10/10 - Season 3 stands out as the best in the series, maintaining its reputation as the king of isekai fantasy comedy. The blend of humor and seriousness is perfectly executed, making this season a remarkable achievement. Despite the long wait and studio change, the season exceeds expectations, delivering top-tier comedy and storytelling. The balance of lighthearted moments and more intense, dramatic sequences enhances the viewing experience, solidifying “Konosuba's” place as a genre-defining series.

Art/Animation/Design: 10/10 - The transition from Studio Deen to Drive is seamless, with the new studio bringing modern improvements while staying true to the series' original charm. The vibrant and dynamic animation captures the essence of each scene perfectly, whether it’s a comedic moment or a dramatic one. The visual presentation is stunning, enhancing the storytelling and making each episode a visual treat. The art style fits the story well, contributing to the immersive quality of the season.

Music: 9/10 - The music in season 3 is excellent, with the classic OST enhancing the overall atmosphere. The opening song, "Growing Up" by Machico, stands out with incredible visuals that tell their own succinct story in just 90 seconds. It’s likely my favorite of the three seasons, perfectly capturing the essence and growth of the characters. The ending song, performed by the VAs of Aqua, Megumin, and Darkness, retains its usual comedic charm and is a delight to listen to.

Final Score: 8.85 > 9

Would I recommend? Most definitely. This season is a must-watch for fans of the series and a great franchise for newcomers. The blend of humor, character development, and engaging plot makes it a standout in the isekai genre. Despite the shift in studios, the quality remains top-notch, with excellent animation, music, and storytelling. Whether you’re a long-time fan or new to “Konosuba,” this season offers a compelling and entertaining experience that showcases the best of what the series has to offer.

Laid-Back Camp (Season 3) (8bit)

The Outdoor Activities Club may be small, but its members are full of energy and enthusiasm, keeping the camping spirit alive with fun DIY experiments and projects. These exciting activities have deepened Nadeshiko’s love for camping, inspiring her to plan another solo trip.

Before she can embark on her solo adventure, Nadeshiko receives an invitation from Aya and Rin to join them on a camping trip near the Ooi River. Excited for their first journey together, the girls set off, eager to create lasting memories that will stay with them for years to come.

Plot: 7/10 - Season 3 of "Laid-Back Camp" introduces a significant shift towards more solo camping adventures compared to previous seasons. This fresh dynamic allows for more character development and personal growth, especially with Nadeshiko, who shines in her solo outings in the first few episodes. One could easily imagine a spin-off show dedicated to her solo camping trips, which I’d most definitely watch.

However, this season also places a greater emphasis on tourism rather than camping itself. While this shift might seem unusual given the show's core focus on camping, it didn't affect my opinion on the season. In fact, the season inspired me with ideas for future trips to Japan, and it could even help alleviate over-tourism in popular areas like Kyoto and Tokyo by highlighting lesser-known destinations.

That said, I can understand why some fans might be disappointed with this change. The increased focus on tourism can detract from the heartwarming and memorable moments between characters that the series is known for. While the group outings are fewer, the season still managed to highlight each character's unique response to nature, adding a layer of depth to their individual stories.

Despite some shifts in focus, season 3 maintains the charm and cozy atmosphere that define "Laid-Back Camp," blending new experiences with the familiar warmth of past seasons.

Characters

• Protagonists: 8/10 - Rather than focusing solely on Nadeshiko, I'd like to highlight some of the other members of our core five. At the start of this season, I wasn't particularly invested in Aoi and Chiaki, but this season gave me a much greater appreciation for their roles and why they're essential to the group dynamic. Chiaki's humor and leadership within the Outdoor Activities Club bring a lively energy to the group. Her distinctive camping style and determination are prominently featured this season, providing plenty of laughs and fun moments. Chiaki's ability to organize and inspire her friends adds a vital element to their adventures, making her an indispensable part of the group. In contrast, Aoi's gentle and caring nature offers a comforting and stabilizing presence among the group. This season also allowed us to see more of her adventurous side, like when she rode her new bike to surprise Chiaki. Her interactions with the group and during her own adventures add warmth to the show, showcasing her quiet strength and kindness. By exploring the personalities and contributions of Chiaki and Aoi, season 3 enriches the group dynamic and demonstrates the importance of each member. This focus on individual character growth enhances the story, making the show even more engaging and heartfelt.

• Supporting Cast: 7/10 - Aya does most of the heavy lifting in this category, transitioning from a character who appeared only once in season 2 to a more prominent role. She and Rin initially only know each other through Nadeshiko, but they quickly bond during their bridge expedition in the early episodes of the season. Their developing friendship adds a new dynamic to the group and enriches Rin's character arc.
  

  However, I was hoping the two middle school girls that Ena encountered would have a more significant role. They’re featured in the opening theme visuals, suggesting they might join the Outdoor Activities Club. Unfortunately, they only appear briefly in two episodes (once during the season finale post-credits scene), squandering any potential they had as supporting characters. While this sets up exciting possibilities for a fourth season, it would’ve been nice to see more interactions between them and the main group beyond just Ena's run-ins.

Genre: 6/10 - "Laid-Back Camp" has always been a standout in the CGDCT and iyashikei genres. While season 3 stays true to the core elements that define the series, it doesn't quite reach the same heights as the previous seasons in terms of genre impact. The shift towards solo camping and a slightly different narrative focus might not appeal to everyone, but it still offers plenty of feel-good moments and serene experiences that are hallmarks of the series.

Art/Animation/Design: 7/10 - The change in studios from C-Station to 8bit brought some noticeable differences in the art and animation quality. While the character designs remain faithful for the most part, there are subtle changes that might take some getting used to. Characters like Rin and Aoi have slight modifications that may be noticeable to attentive audiences. The backgrounds are more photorealistic and incorporate more 3DCGI, which enhances immersion for some viewers but may feel jarring to others. Specific scenes, like Nadeshiko walking into a store or standing near a sakura tree, highlight these changes. Despite these differences, the animation quality is still decent, and the serene landscapes continue to captivate, even if they don't quite match the creative freedom of previous seasons.

Music: 8/10 - The music in season 3 is a highlight, with Akiyuki Tateyama's compositions continuing to create the perfect backdrop for the show's cozy atmosphere. The new opening and ending songs are delightful and match the tone of the show perfectly. Kiminone's engaging OP, “Laid-Back Journey,” captures the essence of the season, while Asaka's ED, "So Precious," provides a fitting and beautiful conclusion to each episode. These songs enhance the viewing experience and maintain the familiar vibes that audiences love. The music remains consistent with previous seasons, ensuring that the auditory experience complements the visual and narrative elements.

Final Score: 7.05 > 7

Would I recommend? For sure. Season 3 provides a satisfying continuation of "Laid-Back Camp," remaining faithful to its core while exploring new dynamics. While there are some shortcomings compared to previous seasons, such as changes in art and animation and a slight shift in focus, the heartwarming plot, beloved protagonists, and beautiful music ensure it remains a must-watch for fans.

Summer 2024 Preview (plus an update)

Out of the eight new anime I picked up this season, half of them fell short of my expectations, resulting in a drop in my 2024 average score to 7.26 (down from 7.44 after winter 2024). Historically, summer tends to be the weakest season for anime. However, there is some hope. I ended up picking up 16 shows (including 3 sequels) for the summer, which is three times more anime than I was watching at this time last year.

• Originals

  • 2.5 Dimensional Seduction

  • ATRI: My Dear Moments

  • Dahlia in Bloom

  • Days with My Step Sister

  • Love Between Twins is Indivisible

  • Mayonaka Punch

  • My Deer Friend Nokotan

  • My Wife Has No Emotion

  • Pseudo Harem

  • Roshidere: Alya Sometimes Hides Her Feelings in Russian

  • Senpai is an Otokonoko

  • Too Many Losing Heroines!

  • VTuber Legend

• Sequels

  • Oshi no Ko (Season 2)

  • SHY (Season 2)

  • The Café Terrace and Its Goddesses (Season 2)

Right from the start, I have high expectations for “2.5 Dimensional Seduction,” “My Deer Friend Nokotan,” “Roshidere,” “Oshi no Ko” (Season 2), and “The Café Terrace and Its Goddesses” (Season 2).

The early descriptions of “2.5 Dimensional Seduction” suggest a fusion of “My Dress-Up Darling” and “Real Girl,” two shows I thoroughly enjoyed. It's especially exciting that it's two consecutive cours, which is rare for an ecchi romance show.

The marketing campaign for “My Deer Friend Nokotan” was engaging enough to get me to pick up the manga, and I’m now fully caught up. This is gonna be one hell of a ride.

Doga Kobo is doing double duty this season on Wednesdays, and so far, both “Roshidere” and “Oshi no Ko” look absolutely incredible.

“The Café Terrace and Its Goddesses” ended its first season on a high note, and I’m eager to see if it can maintain that momentum.

Consequently, with the number of shows I plan to watch, I need to scale back the amount of detail in my reviews. Starting this summer, I’ll only provide a surface-level critique on each anime's plot, protagonists, supporting cast, genre, art/animation/design, and music. If anything particularly stands out (good or bad), I’ll mention it in the review. Otherwise, I won’t go into significant detail. I’ll still provide individual scores for each category to create my composite score, along with a brief verdict on whether or not I’d recommend the anime. But be aware that my reviews will be much less verbose going forward.

Future Content

In my winter 2024 wrap-up, I promised to upload my vlogs from Anime Boston before the end of the spring season, but unfortunately, I haven’t managed to do so yet. However, I’m fully committed to publishing the vlogs before the end of August. Why August? Well, it’s because I have another trip at the end of August that’ll involve even more vlogging. I’ll be flying to New York for Anime NYC and the highly anticipated Hololive English 2nd Concert - Breaking Dimensions, happening that same weekend. It should be a ton of fun, but before I can start preparing for that, I need to finish the Anime Boston vlogs. Make sure to follow me on Twitter/X and Instagram for updates, and subscribe to my YouTube channel to be notified when those vlogs are out! I might also create some content on TikTok, but that’s still up in the air.

And that’s all folks! If you’ve watched or end up watching any of the shows I reviewed, let me know on social media! I’m always down to talk anime, and I’d love to hear your thoughts. Until next season! See ya around!