Fall 2024 Wrap-Up

Plus, read to the end for details about a special project I've been working on for the last few months! 🤫

This wrap-up is gonna be a little different. In my summer wrap-up, there were a couple of shows I intended to watch, but because of reasons I’ll get into at the end of this post, I didn’t get to watch them. Which is actually fine because two of those shows are two consecutive cours, meaning they won’t end until the end of the winter 2025 season. In short, I only watched four fall 2024 seasonals, two of which I didn’t mention in my summer wrap-up.

So, what exactly was I up to this past fall? Well, aside from researching my career prospects, I made a decent dent into my ever-growing backlog. I even watched some shows from 2024 that weren’t even remotely on my radar. Why? Again, you’ll have to read (or skip) to the end of this post to find out. I know I’m being very cryptic, but I promise it’s very exciting and something I’ve wanted to do for a while.

With that out of the way, let’s review some anime, shall we?

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

• New Shows

  • Dandadan (Season 1) - 10/10

  • Nigoriri: 2.5 Dimensional Seduction (Season 1) - 9/10

  • Ranma ½ (2024) (Season 1) - 6/10

  • You are Ms. Servant - 6/10

  • 365 Days to the Wedding - 6/10

• The Backlog

  • The Apothecary Diaries (Season 1) - 9/10

  • Girls Band Cry - 9/10

  • Haikyu!! Movie: The Dumpster Battle - 8/10

  • Yatagarasu: The Raven Does Not Choose Its Master - 8/10

  • ‘Tis Time for "Torture," Princess (Season 1) - 8/10

  • Fruits Basket (2019) (Season 3) - 7/10

  • Brave Bang Bravern! - 7/10

  • Cherimaho: 30 Years of Virginity Can Make You a Wizard?! - 7/10

  • Gold Kingdom and Water Kingdom - 7/10

  • Haikyu!! the Movie: The End and the Beginning - 6/10

  • Mahoaku - 6/10

  • Sasakoi: Whisper Me a Love Song - 6/10

New Shows

Dandadan (Season 1) (Science SARU)

Momo Ayase, a high school girl who firmly believes in ghosts but dismisses the existence of aliens, finds herself in a heated debate with her classmate Ken Takakura, nicknamed "Okarun," an alien enthusiast who scoffs at anything supernatural. To settle their disagreement, they each venture into locations tied to the paranormal and extraterrestrial: Momo visits an abandoned hospital rumored to host UFOs, while Okarun explores a haunted tunnel.

Their bet takes a shocking turn when Momo is abducted by aliens, who inadvertently awaken her psychic abilities, and Okarun is possessed by a vengeful spirit. Forced to team up, Momo and Okarun use their newfound powers to defeat their otherworldly foes. As they continue battling a mix of spirits, aliens, and urban legends alongside friends and allies, their unusual partnership grows stronger. Along the way, they uncover more mysteries, navigate adolescence, and confront their evolving feelings for each other.

I went into Dandadan with cautious expectations due to the hype and heavy promotion surrounding it. I didn’t start it weekly, but I binged the first ten episodes before catching the last two upon release, which worked out well because the show hooked me in from the get-go. The mix of action, supernatural elements, and unexpected comedy caught me off guard in the best way possible. The story, while seemingly bizarre on paper, managed to balance its many genres surprisingly well, even hinting at a compelling romantic undercurrent.

The chemistry between Momo and Okarun stood out immediately. Their banter felt natural and evolved as the show progressed. Momo’s unfiltered personality and stylish gyaru design made her instantly likable, while Okarun’s transformation from a reserved, nerdy type to a formidable fighter thanks to Turbo Granny's powers was satisfying to watch. The romantic tension simmered beneath the surface, adding a layer of intrigue without overshadowing the main story.

The supporting cast also brought a lot to the table. Seiko, Momo’s hilariously young-looking grandma, was both funny and badass. On the other hand, Jiji's over-the-top antics took some getting used to, though he proved his worth by the finale. Even Aira, initially coming across as arrogant and two-faced, grew on me thanks to her crush on Okarun and her unexpected emotional depth.

The antagonists were surprisingly layered. Turbo Granny, for example, wasn’t just a pervy yokai but had a dark backstory tied to protecting vulnerable women, which added unexpected complexity. Acrobatic Silky, driven by grief and loss, had one of the most emotional arcs, with ep. 7 standing out as a masterclass in direction and storytelling. The rest of the aliens, meanwhile, were creepy yet strangely funny, especially with their ridiculous yet threatening motivations.

The animation and visuals were top-tier. The designs of the ghosts and aliens were imaginative and suitably eerie, adding to the show’s unique charm. The comedic timing, supported by excellent animation and expressive character reactions, added to the humor significantly.

The OP and ED deserve special mention. Creepy Nuts delivered another banger with an opening that perfectly matched the show’s chaotic energy. Momo’s hypnotic dance sequence was especially memorable. The ending theme, featuring Turbo Granny as a beckoning cat, added a quirky and fun touch that rounded out each episode nicely.

Overall, Dandadan excelled on multiple fronts: character writing, animation, comedy, and even its emotional beats. The blend of bizarre supernatural hijinks with heartfelt moments worked better than I ever expected. I’m thrilled that season 2 is confirmed because this wild, genre-blending ride deserves to continue.

Final Score: 10/10

• Plot - 10

• Protagonists - 10

• Supporting Cast - 8

• Genre - 9

• Art, Animation, and Character Design - 10

• Music, Sound Design, and Voice Acting - 10

Nigoriri: 2.5 Dimensional Seduction (Season 1) (J.C. Staff)

Masamune Okumura, a second-year high school student and self-proclaimed otaku, is deeply devoted to his favorite fictional character, Liliel, from his beloved manga series. As the president and sole member of the school’s manga club, Okumura insists he has no interest in real-life girls. His quiet routine takes an unexpected turn when Ririsa Amano, a first-year student with a passion for cosplay, joins the club. Sharing Okumura's admiration for Liliel, Ririsa persuades him to become her personal photographer for her elaborate cosplays, blurring the lines between his 2D fantasy and 3D reality.

As Okumura discovers the intricacies of cosplay photography, his childhood friend Mikari Tachibana enters the scene. Harboring unrequited feelings for Okumura, Mikari joins the club as a cosplayer in hopes of winning his affection. Caught between his growing feelings for Ririsa and Mikari’s attempts to get closer to him, Okumura struggles to reconcile his devotion to the fictional world with the real connections forming around him.

On a surface level, what can easily be dismissed as a clone of My Dress-Up Darling (Kisekoi) ended up being so much more. Kisekoi is better in comedy and is more direct when it comes to romance and fan service, but Nigoriri is more about the camaraderie among cosplayers and the rom-com elements come second. If you’re asking which is a better representation or depiction of cosplay culture, I’d have to say Nigoriri.

The chemistry between Okumura and Ririsa was fantastic, and with the number of episodes the show was allotted there was plenty of time to develop their feelings from "we're just passionate fans" to "maybe we're passionate about each other". And again, I love how Nigoriri treats cosplay not just as a backdrop (sorta like Kisekoi) but as an integral part of the story. The show highlights the time, effort, and dedication required to create costumes and step into a character’s shoes. It respects the craft and shines a spotlight on the artistic and personal fulfillment cosplay can bring.

Aria's character arc is probably my favorite string of episodes. Her journey of reconnecting with her estranged father through cosplay was really heart-warming. The scene where Okumura passionately defends Aria’s father’s old manga was incredibly moving. He argues that even if the creator has lost faith in his work, it still holds meaning for those who were touched by it. That moment felt raw and sincere, amplified by very strong voice acting. And top it all off, the scene where Aria reunites with her father cosplaying as the character he created was what broke me and got me to shed a few tears.

Noa's arc is probably the one aspect of the show I was disappointed in. While I usually connect with introverted characters dealing with social anxiety, her story felt dragged out. Her childhood trauma explaining her reserved nature was well-written, but the repetitive misunderstandings due to her inability to speak up got tiring. The narrative seemed stuck on emphasizing her struggles without progressing fast enough toward resolution. I get that overcoming social anxiety isn’t instantaneous, but the pacing felt off, especially when her issues caused multiple miscommunications with other characters (e.g, Okumura, Ririsa, Nagomi, other photographers). Re-allocating some of Noa's screen time could’ve strengthened Okumura's development. While the show eventually explored his struggle to trust women and form genuine connections, I think one more focused episode on his backstory and emotional reckoning would’ve added more balance. Since so much of the show centers on his relationships with the girls, giving him a deeper individual arc would've been more satisfying.

Believe it or not, according to manga readers, the show holds back significantly in the amount of ecchi shown, so that's probably a relief for some. Personally, I thought the level of ecchi was fine since anything more probably would've crept into familiar harem trope territory.

Despite some pacing missteps, Nigoriri had plenty of heart and does great within the confines of its genres (slice of life, comedy, drama, and romance). With the way this season ended, I'm very much looking forward to what season 2 has in store.

Final Score: 9/10

• Plot - 10

• Protagonists - 9

• Supporting Cast - 9

• Genre - 9

• Art, Animation, and Character Design - 7

• Music, Sound Design, and Voice Acting - 7

Ranma ½ (2024) (Season 1) (MAPPA)

Ranma Saotome's life is anything but ordinary. After a mishap at the mystical Jusenkyo springs in China, Ranma is cursed to transform into a girl whenever splashed with cold water—an inconvenience only reversed by hot water. As if this weren’t complicated enough, his father arranges a marriage between Ranma and Akane Tendou, the fiery youngest daughter of the Tendou Dojo. Despite their mutual objections, the two must navigate their chaotic lives under the same roof.

Between relentless suitors, eccentric rivals, and bizarre situations fueled by Ranma’s transformation, this action-packed rom-com is a whirlwind of martial arts mayhem and awkward romance.

My feelings about Ranma 1/2 are mixed at best. Starting with the first three episodes, I was cautiously optimistic. The production quality stood out in a good way—dynamic and flashy OP visuals, a simpler but effective ED, and an overall nostalgic, comic book-like aesthetic that added charm, especially during action sequences. Song-wise, I preferred the ED, largely thanks to riria's vocals. Her singing is always a highlight for me, especially since she’s done themes for two shows I rate highly (Summertime Rendering and My Happy Marriage), so hearing her here was a pleasant surprise.

Story-wise, I initially appreciated that the show skipped Ranma’s freak-out phase about his curse and went straight into everyday life with Akane. Their arranged marriage dynamic is a well-worn trope, but I liked that their relationship hinted at progress early on, like Ranma trying to cheer Akane up by ep. 3. I hoped the show would build on that instead of dragging out petty bickering. Unfortunately, my hopes were misplaced. By the end of the season, their relationship had gone from mutual dislike to tolerating each other, which wasn’t enough to justify the time spent watching.

The comedy was a major sticking point for me. Slapstick is fine in moderation, but this show relied on it so heavily that it felt repetitive and predictable. The bathroom gag in ep. 1, reused twice, was already a sign of things to come. Worse still, the show often used comedic violence to resolve relationship conflicts, like Akane hitting Ranma even when he didn’t deserve it (which was about half the time). This leans into the violent tsundere trope I’ve never liked (Toradora comes to mind). And while a few jokes did land—like the “Thanos snap” after Ranma received roses from Kuno or Shampoo trying to cook Ryoga in his pig form—those moments were too few and far between.

The supporting cast was another disappointment. While Ranma himself was likable, with his humor and skills, the rest of the characters felt like dead weight. Genma’s panda antics, like holding up signs to communicate, never added much. And arcs involving side characters, like the three-episode skating fight with Mikado and Shiratori, were a slog to get through. Mikado and Shiratori were particularly annoying, and I’d prefer not to elaborate further because, well, you can probably guess why if you’ve seen the original of the remake.

The show’s episodic structure didn’t help either. It made the running gags even more grating, particularly the dramatic irony of Akane not realizing Ryoga and P-chan were the same. By ep. 9, when Ryoga’s choker clearly matched P-chan’s, it started to feel like an insult to Akane’s intelligence. This was frustrating because I wanted to root for her despite not liking her violent tsundere characterization. Worse, Akane’s role diminished as the season progressed. She was sidelined during key moments: sitting out her fight against Kodachi due to an injury, staying out of the fight with Shiratori and Mikado at Ranma’s insistence (despite his earlier injuries), and losing to Shampoo in the final arc, only to end up with amnesia that Ranma had to solve. For a show named after Ranma, it wouldn’t hurt to let Akane step up as the strong co-protagonist she was supposed to be.

The season’s ending didn’t help matters. Shampoo’s defeat and departure after Ranma reveals his secret felt abrupt and unsatisfying. I get that it’s meant as a soft ending before season 2, but it didn’t even try to leave me with something to look forward to.

That said, I’ll give credit where it’s due. The animation was consistently strong, especially in action scenes, and the character designs worked well for a remake. Ranma himself was a decent lead, carrying much of the show. But with the weaker supporting cast, unfunny gags, and lack of meaningful character development, it felt like the show’s good points were buried under its flaws. It had solid production and a decent lead but fell short in too many other areas.

Final Score: 6/10

• Plot - 4

• Protagonists - 6

• Supporting Cast - 6

• Genre - 6

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 8

You are Ms. Servant (Felix Film)

High schooler Hitoyoshi Yokoya’s quiet life takes an unexpected turn when a mysterious girl shows up at his door, asking to work as his maid. It quickly becomes clear that she’s no ordinary housekeeper—she’s a former assassin with no domestic skills but a lifetime of training in the art of killing. Though initially hesitant, Hitoyoshi takes her in after she saves his life in a split-second display of her lethal expertise.

To help her start fresh, Hitoyoshi names her Yuki and encourages her to trade her violent past for the mundane joys of everyday life. As Yuki navigates her new role and confronts her long-held belief that her only value lies in her deadly abilities, she begins to discover what it means to truly belong. This is the heartfelt tale of a girl seeking redemption, a boy offering her a second chance, and the unexpected bond they form along the way.

I have a lot of thoughts about this one, especially with regards to its ending. The anime markets itself as a rom-com, but honestly, the romance felt pretty underwhelming. It took a clear backseat to the comedy and Yuki’s personal journey. Most of the show focused on her dealing with her assassin past and trying to adapt to “normal” life, which, to be fair, were the parts that I enjoyed the most. Her relationship with Hitoyoshi, on the other hand, didn’t quite work for me. While it’s obvious by the end that Yuki sees him as family and Hitoyoshi has romantic feelings for her, the lack of resolution made the finale feel strange and incomplete. It left me sitting there thinking, “That’s it?” It’s one thing to leave things open-ended for a potential second season, but if that’s not a guarantee, I really think this series owes viewers a more satisfying conclusion.

The production itself wasn’t particularly impressive either. The art style was okay but not memorable, and the animation was pretty lackluster overall. That said, I did enjoy how Yuki’s facial expressions were animated; they added a lot to the humor and her character in general. Her over-the-top reactions to unfamiliar situations were consistently funny and easily one of the highlights of the show. I also loved the design of her eyes; the cold, almost lifeless look really captured her backstory as a former assassin while contrasting beautifully with her efforts to lead a normal life. She was definitely the standout character for me, carrying most of the show’s emotional and comedic weight.

Hitoyoshi, on the other hand, felt pretty dull as the male lead. His family drama was introduced way too late in the series, making it hard to care about. By the time they dropped all that backstory in the finale, I was just too checked out to be invested. I think the series missed an opportunity to weave his struggles more gracefully into the overall narrative, especially alongside Yuki’s character development. The supporting cast didn’t leave much of an impression either. Riko was cute but didn’t do much in the grand scheme of things, and Grace started strong as an antagonist but lost her edge after a while. I was especially disappointed with how the show handled Yuki’s sister. They teased this potentially compelling storyline about their relationship and Grace’s investigation into her whereabouts, but it ended up feeling like an afterthought. I kept expecting it to tie back into the main story in a meaningful way, but it just didn’t.

And then there’s the romance, or lack thereof. I get that Yuki isn’t ready for romantic feelings yet, given everything she’s been through, but the way the show tried to balance her journey toward normalcy with Hitoyoshi’s budding feelings felt awkward. It almost seemed like the show didn’t know what it wanted to do with their relationship, which made the ending all the more frustrating. They both confess their feelings, but they clearly mean different things, and it just kind of…ends there. It’s hard not to feel let down when the story doesn’t feel like it fully commits to either the romance or the slice of life aspects.

Overall, I’d say the show ranges from fine to unremarkable. Yuki’s character arc and the comedic moments involving her reactions kept me entertained, but the weak supporting cast, mishandled romance, and inconclusive ending really held it back from being anything more than okay. It had potential, but it just didn’t quite live up to it.

Final Score: 6/10

• Plot - 6

• Protagonists - 7

• Supporting Cast - 6

• Genre - 6

• Art, Animation, and Character Design - 6

• Music, Sound Design, and Voice Acting - 6

365 Days to the Wedding (Ashi Productions)

Takuya Oohara and Rika Honjouji are introverted coworkers at a Tokyo travel agency, content with their quiet, solitary lives. Takuya finds comfort at home with his cat, while Rika immerses herself in maps and daydreams of distant places. Their routine is thrown into disarray when the company announces plans to transfer an unmarried employee to a new branch in Alaska within a year.

A chance encounter on a rare day off reveals their shared predicament, and Rika impulsively suggests a bold scheme: fake an engagement for the next 365 days to dodge the transfer. Takuya reluctantly agrees, setting the stage for an elaborate ruse that challenges their introverted natures and threatens to upend their carefully constructed lives. As the days pass, the line between pretense and reality begins to blur, forcing them to confront the unexpected ways their arrangement might change them—and their relationship—forever.

I’m left with pretty mixed feelings after finishing 365 Days to the Wedding. The show had a promising setup with two socially awkward adults navigating a fake engagement, and there were definitely moments where the awkward charm of Rika and Takuya shone through. The first episode set things up well, getting right into the premise without dragging, but from there, the pacing and execution felt inconsistent.

One of my biggest frustrations was how the show teased interesting plotlines but failed to deliver on them. For instance, the whole threatening phone call subplot had so much potential for adding tension and stakes but ended up feeling like a loose thread. It was hinted that Rika’s mother might've been involved, but nothing concrete came of it. The resolution was oddly sentimental, leaving me wondering why it was even included if it wouldn’t impact the story meaningfully. Similarly, the side story with Gonda and Kaori, a single mother and fellow idol fan, seemed like it was heading somewhere interesting, only to be dropped entirely. Gonda’s realization about the complexities of marrying someone with a child was compelling, but the lack of follow-up made the arc feel like wasted potential.

The romantic development between Rika and Takuya was another mixed bag. Their internal monologues were insightful at first but quickly became overwhelming. They spent so much time stuck in their heads that it started to strain believability. I get that they’re both introverted and inexperienced in romance, but the sheer amount of overthinking and lack of communication made the progression of their relationship frustrating. At times, it felt like watching middle schoolers navigate first crushes, which clashed with the workplace romance setting.

By the time the finale rolled around, the story seemed to rush through its resolution. The sudden realization that they both could choose a different future felt unearned after episodes of circular introspection. Their decision to get married felt more like the writers needed closure than a natural progression of their relationship.

Production-wise, the animation and art were decent but never exceptional. The OP was catchy but felt like standard fare from HoneyWorks, blending into the sea of similar anime OPs. The ED visuals were fine, but the song hardly stood out.

365 Days to the Wedding had potential with its unique premise and wholesome moments, but inconsistent storytelling, unresolved subplots, and over-reliance on internal monologues held it back. I wanted to root for Rika and Takuya, but their lack of meaningful communication made it hard to stay invested. It was fine, but with some tighter writing and better pacing, it could've been so much more.

Final Score: 6/10

• Plot - 6

• Protagonists - 6

• Supporting Cast - 7

• Genre - 7

• Art, Animation, and Character Design - 7

• Music, Sound Design, and Voice Acting - 6

The Backlog

The Apothecary Diaries (Season 1) (OLM, TOHO animation STUDIO)

Maomao’s quiet life as an apothecary is upended when she’s kidnapped and sold to the imperial palace as a lowly servant. Determined to keep a low profile, she hides her sharp mind and deep knowledge of medicine. However, her curiosity gets the better of her when rumors spread of mysterious illnesses affecting the emperor’s children. Unable to ignore the challenge, Maomao solves the puzzle, revealing a poisoned source that had gone unnoticed.

Her efforts don’t go unrecognized. Jinshi, a striking and enigmatic palace official, uncovers her involvement and elevates her from the laundry room to the position of a lady-in-waiting for one of the emperor’s favored concubines. As Maomao is drawn deeper into palace life, her expertise becomes indispensable, leading her to untangle medical mysteries and navigate the intrigues of a court where danger and secrets lurk behind every ornate screen. Despite her attempts to stay under the radar, Maomao’s sharp wit and unorthodox methods ensure she’s anything but ordinary.

I put this one off for so long, but knowing season 2 was around the corner and the fact it was the highest rated series on my Plan to Watch list, I just had to squeeze this in and watch it during the winter holidays. And let me tell you, I’m sure glad I did because after re-evaluating my list of best girls in anime of all-time, Maomao shot straight up to the no. 2 position (only surpassed by Rias Gremory, whose position will be difficult to topple).

The Apothecary Diaries is easily one of the best shows I’ve seen this year, landing at no. 20 on my list of favorite anime of all-time. What caught me off guard was how well the comedy was integrated into the drama, mystery, and suspense. The show used its chibi art style so effectively to punch up the humor, especially when Maomao’s gremlin personality took center stage. These moments of levity really balanced out the darker, more intricate storytelling.

Maomao is such a standout protagonist. Her obsession with poisons and medicine, combined with her unfiltered reactions, makes her a fascinating character to follow. The way she geeks out over pharmacy ingredients and medicinal herbs is oddly charming, even when it borders on unsettling. It’s this dedication to her craft that adds a unique charm to her character. She’s funny, smart, and unapologetically herself, which makes her one of the most engaging leads I’ve seen in a while. At the same time, her discretion and empathy really set her apart from other “detective” archetypes. She doesn’t exploit people or curry favor with the powerful; she just wants to make the world around her a little less awful.

The dynamics between Maomao and Jinshi are another highlight. Jinshi’s feelings for Maomao are clear, but her utter indifference toward his advances is both hilarious and refreshing. It’s fascinating how their chemistry works without necessarily being romantic. Jinshi’s intrigue in Maomao’s disregard for his beauty feels like a subtle critique of the shallow palace environment, and their back-and-forth is endlessly entertaining.

The story’s themes are another strength. Women exercising agency in terrible situations is a recurring idea that the show handles incredibly well. Concubine Fuyou in ep. 3 is a great example, where she deliberately lowers her value to escape her circumstances. It’s a bittersweet story, but one that reflects the broader struggles of women in the series. This theme is mirrored later in Fengxian’s tragic storyline in ep. 23, where her plan to lower her value through pregnancy backfires catastrophically. The writing for these moments is sharp and devastating, showing how even small acts of defiance can have unforeseen consequences.

The second half of the show takes things to another level. The mysteries grow more complex, and the payoff for sticking with the details is incredibly rewarding. Episode 19, where Maomao pieces together an elaborate assassination attempt, is one of the best episodes in the season. The build-up to that reveal, with all the little clues scattered throughout earlier episodes, is a testament to the show’s attention to detail. It’s the kind of storytelling that rewards a rewatch, as you start to pick up on all the hints you missed the first time around. At the same time, the second half sidelines the supporting cast to focus more on Maomao and Jinshi, which could be disappointing if you were attached to the side characters. For me, though, the tighter focus worked because of how strong their dynamic is.

Visually, the show is consistent and occasionally stunning. The use of chibi-style animation for comedic beats is a great touch, and Maomao’s poison-tasting scenes are some of the funniest moments in the series. However, there weren’t many scenes that completely wowed me animation-wise. Maomao’s dance in the finale is an exception; it’s captivating with a great insert song to complement it.

If I have any complaints, it’s that a few threads felt underexplored. Characters like Concubine Luolan (the new Pure Consort) and Suirei had intriguing setups but didn’t get the development they deserved. Hopefully, these will be addressed in season 2. The music was solid, with the first OP being a standout, though the second OP and both EDs didn’t leave as much of an impression.

The Apothecary Diaries is a fantastic blend of humor, drama, and mystery, with a lead character who carries the show effortlessly. I cannot wait to see how season 2 builds on everything this season laid out.

Final Score: 9/10

• Plot - 9

• Protagonists - 10

• Supporting Cast - 9

• Genre - 10

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 8

Girls Band Cry (Toei Animation)

Nina Iseri has always felt out of place in the countryside, and when she drops out of high school, she decides to move to Tokyo, determined to start fresh and prove she can make it on her own. Her first day is anything but smooth—she gets lost, ignored, and even locked out of her apartment. Just as she begins to question her decision, a chance encounter changes everything. Nina meets Momoka Kawaragi, a talented guitarist she has long admired, and the two instantly bond over their shared love of music.

What starts as a street performance evolves into an ambitious plan: to form a band. Alongside Nina and Momoka, three other girls join the group, each carrying their own burdens. Subaru Awa, a strikingly beautiful drummer, struggles to overcome societal expectations. Tomo Ebizuka, an aloof yet gifted keyboardist, hides a complicated past. Rupa, the intelligent and resourceful bassist, is determined to prove her worth. Together, they navigate the highs and lows of the music scene while confronting their personal struggles and insecurities.

Through their music, the girls find a way to express their raw emotions and support one another in a world that often feels unforgiving. Their journey is one of resilience, self-discovery, and the unbreakable bonds formed through shared dreams. For these five young women, the stage becomes a place where they can truly belong and find the strength to keep moving forward.

Girls Band Cry (GBC) seamlessly blends drama, music, and subtle comedy to craft a story that feels both grounded and deeply personal. While it’s not without flaws, GBC achieves something truly special in its portrayal of flawed, multi-faceted characters and their growth throughout the series.

From the start, the show establishes a compelling dynamic among its lead characters. Nina, with her prickly, defensive demeanor, serves as the emotional core of the series. Her anxiety, visualized through creative red, spiky effects, brings an artistic and visceral dimension to her struggles. She’s a walking contradiction—harsh on the outside but deeply vulnerable inside. Watching her slowly warm up to the idea of being in Momoka’s band felt earned and satisfying.

Subaru, on the other hand, is Nina’s perfect foil. Outgoing and seemingly confident, she hides her own insecurities and dissatisfaction with the acting career path her family expects her to follow. Her character arc, especially the episode where she confronts these expectations, stands out as a highlight. The confrontation between Subaru and Nina under the guise of acting improv showcased their dynamic perfectly, and the match-cut transition to a scene in the subway was a brilliant cinematic touch.

Momoka’s role as the “adult in the room” anchors the group, but her past with Diamond Dust adds depth to her character. The tension between her and Nina over creative control within TogeToge felt authentic, rooted in Nina’s need to prove herself and Momoka’s fear of professional failure. Even Tomo’s bluntness, born from her superiority complex, found a place in this group, illustrating how the band’s dynamic thrives on its members’ flaws as much as their strengths.

The use of CG animation, which initially felt jarring, turned out to be surprisingly effective. While the character models occasionally appeared soft against the backgrounds, the expressiveness and fluidity in their movements more than made up for it. Performance scenes, in particular, benefited from this style, capturing the raw energy and emotion of the music. Subaru’s drumming and Nina’s emotionally charged singing stood out as examples of how the animation elevated the storytelling. Compared to other music-centric anime like Blue Orchestra, GBC’s CG felt natural and contributed to the narrative rather than detracting from it.

Not everything worked perfectly, though. While Tomo had compelling moments exploring her backstory and its impact on the band, Rupa felt severely underdeveloped. Her character lacked the depth needed to fully integrate her into the group dynamic, making the band occasionally feel like two separate units rather than a cohesive five-member ensemble.

The music, while generally fantastic, had some missteps in its soundtrack. The overuse of the piano rendition of the opening theme to underscore serious moments diluted its emotional impact. Using it more sparingly would’ve preserved its potency. However, I appreciated how the band’s identity evolved as they grappled with the pressures of commercial expectations versus staying true to themselves.

The finale’s open-ended resolution was fitting for the story. It avoided tying things up too neatly, leaving questions about TogeToge’s future and Nina’s rivalry with Hina of Diamond Dust. This restraint aligned with the show’s grounded tone, though I would’ve liked a more cohesive exploration of Nina and Hina’s fallout.

Ultimately, GBC excels as a character-driven drama, standing apart from other band-centric anime like Bocchi the Rock! by leaning more into raw drama than comedy. Its blend of subtle humor and heavier themes makes the emotional episodes (e.g., episode 8) hit even harder, and small cinematic touches elevate its storytelling. While it has room for improvement, GBC is an excellent drama and one of the best new anime that debuted in 2024.

Final Score: 9/10

• Plot - 9

• Protagonists - 8

• Supporting Cast -7

• Genre - 10

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 9

Haikyu!! Movie: The Dumpster Battle (Production I.G)

In the intense third round of the Spring Nationals, two underdog teams with a rich history of rivalry finally clash in an official match. Nekoma High’s volleyball team, led by the calm and analytical Kenma Kozume, faces Karasuno High, a tenacious squad striving to reclaim their former glory. As Nekoma’s strategist, Kenma must decode the unpredictable tactics of Karasuno and contend with his friend and opponent, Shōyō Hinata—a deceptively small but exceptionally skilled middle blocker.

This long-awaited showdown—dubbed "The Dumpster Battle"—is more than a game; it’s the culmination of countless practice matches and the embodiment of each team’s determination to overcome their limits. With no second chances, both teams push themselves to their breaking points, knowing that only one will advance to the semifinals. As tensions rise and strategies unfold, the fate of two dedicated squads hangs in the balance, promising a battle for the ages.

Under normal circumstances, I never would’ve watched this film. I’ve never even seen Haikyu!!, so how on Earth would I be able to understand what’s happening? Well, I’m gonna have to leave you in the dark for just a little longer, but what I can reveal is that I was provided with a condensed list of prerequisites to watch to understand who the players on Karasuno and Nekoma were, their motivations, and why this match specifically means so much to them. I went into this with pretty low expectations, mainly because the first recap movie didn’t leave much of an impression on me. But as I watched more episodes leading up to the movie, I found myself way more invested than expected. Maybe it’s because I watched the tournament-heavy episodes, skipping the more character-driven arcs, training camps, and practice matches. The condensed list of prerequisites made the competitive stakes of the movie hit harder, though I imagine someone fully caught up on the entire series might have a different perspective.

One thing I really appreciated is how Haikyu!! (in general) avoids painting anyone as a villain. The rivalry between Karasuno and Nekoma is intense, but it’s always framed as a mutual quest for growth rather than a battle of good versus evil (for lack of a better term). Both teams push each other to be better, making it easy to root for everyone involved. By the end, while Karasuno takes the win, it feels less about one team triumphing and more about both sides achieving personal victories. Kenma finding joy in volleyball after years of indifference was a particularly satisfying arc.

Speaking of Kenma, his development stood out to me the most. His backstory about how Kuro got him into volleyball was just what I wanted/what was missing after watching the prerequisite list. His calculated strategies during the game were fascinating, especially his efforts to block Hinata from spiking by forcing him to receive more. Watching his thought process unfold in real time made the match even more exciting. I also loved the first-person POV sequence showing Kenma’s exhaustion toward the movie’s climax. The heavy breathing, sweat-soaked floor, and the reflection of his face in the puddle of sweat were cinematic highlights that helped convey his mental and physical limits.

The dynamic rivalries across both teams were handled well. Whether it was Tsukishima vs. Kuro, Nishinoya vs. Yaku, or Tanaka vs. Yamamoto, each match-up felt meaningful. Even rivalries that didn’t get much screen time were supported by well-placed flashbacks, balancing intense action with character context. The flashbacks themselves were a smart way to slow down the pacing, giving the audience time to breathe and reflect amid the high-energy match.

On the technical side, the movie’s production quality impressed me. While Haikyu!! has always had decent animation, certain cinematic shots in the movie went above and beyond. The use of match cuts, symbolic imagery, and dramatic camera angles were particularly eye-catching. However, I did think the cat-versus-crow imagery was overdone. While visually important, it felt repetitive after a while. Still, when used sparingly, it added thematic weight to the showdown. The soundtrack was good too, underscoring some intense moments and maintaining the hype.

My second and last major critique is the ending of the final set. Kenma failing to return the ball because it was slick with sweat felt a bit anti-climactic. After such an intense game, I hoped for a more dramatic finish, maybe even a third overtime set. However, the emotional payoff still landed, especially with Kenma’s post-match realization that he genuinely enjoyed playing. It was a well-earned moment that highlighted the personal growth central to the series.

Overall, Dumpster Battle far exceeded my expectations. Will I watch Haikyuu! someday? Perhaps. But there are plenty of other shows I want to get to first before I even consider it as an option.

Final Score: 8/10

• Plot - 8

• Protagonists - 9

• Supporting Cast - 8

• Genre - 8

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 7

Yatagarasu: The Raven Does Not Choose Its Master (Pierrot)

In the kingdom of Yamauchi, the Yatagarasu—a race of three-legged ravens with the ability to transform into humans—hold sway over a divided land ruled by noble families. At the heart of this intricate society is the imperial court, where politics and power plays intertwine with ancient traditions. Four women arrive to vie for the hand of the enigmatic Crown Prince Wakamiya, a young man chosen by the royal priests to serve as the Kinu, the Mountain God's sacred servant. Despite his position, Wakamiya faces tension within his own family, stemming from his status as the second son of a concubine, a choice that has set him against his elder brother and stepmother.

Amid this turmoil, Yukiya, the teenage son of a northern village chief, is summoned to the palace to serve as the prince’s personal attendant. His arrival is far from coincidental, as his presence unravels secrets that threaten the fragile balance of the realm. With courtly rivalries, mysterious plots, and a looming threat from an unexpected enemy, Yamauchi’s fate hangs precariously on the actions of those within the palace walls.

When I first started “Yatagarasu,” I wasn’t entirely sold. The opening episode was dense with exposition, cramming in details about the Kingdom of Yamauchi, the four houses, and the mythical yatagarasu. Instead of easing the viewer into its world, the show hit me with an info dump that felt more exhausting than engaging. However, as I made my way through the series, it grew on me. And now that I’ve finished the show, I can say it’s an intricate and rewarding experience, though not without its flaws.

By ep. 4, the plot began to settle into its stride, and the tangled web of political intrigue became a lot more gripping. The assassination attempts on Wakamiya set the stage for an entertaining power struggle. Wakamiya’s dynamic with Yukiya was especially compelling. There’s this push and pull where Wakamiya’s trust in Yukiya feels conditional, yet Yukiya’s loyalty remains unwavering. Their interactions bring an emotional weight to the narrative, particularly when Yukiya’s more relatable, whiny nature clashes with Wakamiya’s calculated demeanor.

The show’s ensemble cast also deserves a nod. Shiratama’s emotional journey—choosing personal happiness over duty—was one of the highlights of the series, with eps. 8 and 9 delivering some of the best animation and emotional beats. Asebi, on the other hand, was a masterclass in subtle manipulation. Her facade as an innocent victim concealed a calculating mind that steadily revealed itself, making her one of the most memorable antagonists I’ve seen recently. Meanwhile, characters like Masuho no Susuki had potential but felt underdeveloped, which was a shame considering her promising setup in the Rite of Ascension.

“Yatagarasu” also delivered some excellent twists. I suspected Natsuka wasn’t the stereotypical power-hungry character he was painted to be, but the reveal that Atsufusa was the real schemer took me by surprise. The second arc, revolving around the sagecap conspiracy and the monkey people, felt more streamlined and cohesive compared to the earlier episodes. Tying these seemingly separate threads together during the meeting with the white shard was a satisfying payoff, demonstrating the show’s ability to weave disparate elements into a unified story.

Studio Pierrot’s animation was consistently polished, with some standout moments like Asebi’s dark raven imagery and Yukiya’s tense conversation with Atsufusa in ep. 11. The lighting choices in particular helped sell the drama of key scenes. That said, the OP and ED felt underwhelming. The OP lacked the energy and creativity I’d expect from a show with such high stakes, while the ED’s visuals were largely forgettable. The score, however, more than made up for it, amplifying the tension in crucial moments, such as Kazumichi’s brutal execution in ep. 5.

The finale left me on edge. The scene where Wakamiya was stabbed had me genuinely worried—not just because of the act itself but because of how much Wakamiya meant to the other characters. Thankfully, he survives, but those tense moments highlight the emotional stakes the show has built up. The final revelations, such as the ghost fires being the lights of human cities beyond Yamauchi, leave plenty of room for a potential second season. I’m eager to see how the unresolved tensions with the sagecap and the monkey people develop, as well as how Yukiya’s pledge of loyalty to Wakamiya shapes the future.

Final Score: 8/10

• Plot - 8

• Protagonists - 9

• Supporting Cast - 8

• Genre - 8

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 8

‘Tis Time for "Torture," Princess (Season 1) (PINE JAM)

The war between the Imperial Army and the Hellhorde takes an unexpected turn when Princess, a revered commander armed with her sentient holy sword Ex, is captured and locked away in the enemy's dungeon. Her captors are determined to extract vital secrets that could tip the scales of the conflict—but their methods are far from conventional.

Instead of traditional methods, the demons, led by the eccentric and cunning Torture Tortura, subject Princess to an unusual form of "torture": irresistible delicacies, cute animals, and heartwarming camaraderie. Each session tests her resolve not with pain but with comfort and delight, resulting in trivial revelations that fail to aid the Hellhorde's cause. Despite the absurdity, Princess' struggle to protect her kingdom’s secrets while grappling with her captors' strange antics creates a battle of wits and appetites like no other.

Three episodes in, I was pleasantly surprised by how much I enjoyed this show. The first episode hooked me with its dramatic opening, where Princess valiantly leads her legion to victory against a giant monster, only for the tone to shift into a comedic setup. While I liked the tonal shift, I felt the reveal of the comedic premise could’ve been drawn out longer. If the dramatic tone had carried through to the very end of the episode before transitioning to humor, the payoff might’ve been more impactful. That said, the comedy worked well, especially with Princess’ struggles to resist delicious-looking food used as a means of "torture."

The balance between Princess’ serious and silly sides remained one of the show’s strongest elements throughout. I appreciated that she’s an older, composed character rather than a naïve young one. This contrast made it funnier when she succumbed to the "torture," as it felt like a real internal battle rather than thoughtless submission. The animation team excelled in making the food look appetizing, and Princess’ exaggerated facial reactions were consistently hilarious. While her “dumb face” could’ve gotten repetitive, the show kept the jokes fresh by varying the comedic beats and introducing new methods of temptation.

The incorporation of Princess’ backstory through flashbacks tied to her "torture" moments added unexpected depth to the humor. Her strict, isolated upbringing explained her temptation by ordinary pleasures like snacks or fun experiences. This characterization elevated the comedy, making it more engaging. Clever visual gags, like blindfolding Ex or dramatizing the dismemberment of gorilla-shaped snacks, demonstrated the show’s creativity in turning simple ideas into laugh-out-loud moments.

By the time I finished all 12 episodes, I really liked how the series stuck to its comedic premise while avoiding repetitiveness. They kept the humor fresh by subverting expectations and introducing creative twists on the core joke. Ex’s commentary and reactions stood out as particularly hilarious and self-aware, often acting as the voice of reason or even the audience. Even moments where Ex became the focus of torture were oddly funny and added charm to the show.

Some standout episodes included the preschool field day in ep. 7, which took the characters outside the usual torture setup. Seeing the Hell-Lord bond with Maomao was heartwarming, and the change of scenery highlighted the excellent character designs. The Hell-Lord, with his striking appearance, felt like he belonged in a serious fantasy anime, yet his character’s subplot about his family added unexpected depth. Episode 6 also delivered great comedic moments, particularly when Princess’ fear of needles led her to confess in exchange for an anesthetic. The supporting cast, including Youki and Inki, had small but meaningful backstories that made them more likable.

However, the show wasn’t without flaws. The repeated use of recap scenes from eps. 1-3 felt unnecessary and disrupted the momentum at times. This issue became less prevalent as the series progressed, but it constantly reminded me of how much more creative the recaps were in the Ranma ½ remake. Additionally, the CG during the roller coaster scenes in ep. 8 felt out of place compared to the rest of the animation, though it wasn’t significant enough to diminish the show’s overall quality.

The finale was where the show stumbled a bit. The extended end credits scene, where the Hell-Lord and Princess are transported to another dimension, felt like a strange departure from the series’ usual tone. While there were funny moments, the sequence felt like a missed opportunity for meaningful interaction between the Hell-Lord and Princess. The use of the OP during the fight seemed shoehorned in, and the scene lacked the proper setup to leave a strong impression. While it likely aimed to highlight the Hell-Lord’s otaku tendencies, the execution fell short.

Tis Time for "Torture," Princess delivered on its comedic premise while giving me plenty of reasons to care about the characters. The show’s ability to innovate on its core joke and sprinkle in moments of depth made it an enjoyable watch. I’ll definitely be sticking around for its second season.

Final Score: 8/10

• Plot - 7

• Protagonists - 8

• Supporting Cast - 8

• Genre - 8

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 7

Fruits Basket (2019) (Season 3) (TMS Entertainment)

With the curse of the Chinese zodiac still looming over them, the members of the Soma family remain trapped by a promise made centuries ago. Akito, the head of the family, clings to the belief that her special bond with each member is eternal, a connection that justifies her control over them. Yet, for the other Somas, this bond has become a suffocating curse, isolating them and instilling fear of punishment should they rebel.

Tohru Honda, who has grown close to the family, is determined to break this curse and free them from the pain it brings. Her deepening relationships with the Somas give her strength, but the revelations about their past, and the personal struggles of those around her, make her quest more daunting than ever. As she battles her own doubts, time ticks away, and the family’s fate remains uncertain. Still, she presses forward, driven by the hope that beyond the curse lies peace for the ones she cares about most.

Fruits Basket's final season managed to wrap up most of the story arcs, and for the most part, I thought it did a solid job. One of the best parts was how they addressed Kyo’s guilt regarding Tohru’s mother. He carried this heavy burden, and it was powerful to see him realize that her words weren’t condemning him but urging him to keep his promise. That whole plotline felt well-executed, and it tied up his internal struggles nicely.

Machi’s arc also stood out to me. Her relationship with Yuki makes sense, and looking back, they do seem like a good fit. It felt natural for them to end up together. In contrast, I always viewed Tohru’s dynamic with Yuki more like a mother-son relationship, where she was caring for him in a different way than she did for Kyo. Kyo’s relationship with Tohru, especially given his transformation in the first season, felt deeper and more emotionally resonant. Tohru, throughout the series, had this fear of moving on from her mother, which added layers to her connection with Kyo.

However, there were a few loose ends that bothered me. For instance, we don’t really know what happened to Ren after her final conversation with Shigure. I doubt too many viewers would care, but since she played such a big role in this season, I was left wanting some closure. I also think the show kind of glossed over Akito’s actions. She inflicted years of trauma on the Soma family, and while everyone didn’t necessarily forgive her, she didn’t really apologize either. It felt ambiguous, and I’m with Rin on this—why is everyone just moving on after what Akito did?

Speaking of Akito, her character arc of coping with the breaking bonds was decent, though the trauma she caused sometimes felt overwhelming. At a certain point, it all just blurred together—lots of physical violence and emotional pain that felt too much at times. Kyo’s arc, though, stood out. His journey from self-loathing to confronting his father and deciding to live for himself was satisfying. Out of all the protagonists, I connected more with him than with Tohru.

On a more personal note, I’ve never been a fan of characters who are too pure or naive, and Tohru was exactly that for me. It just felt unrealistic for her to be so innocent for three whole seasons. Her decision to approach Akito while she was holding a knife was one of the more frustrating moments for me—why run toward someone who’s actively trying to hurt you? That aside, the show’s insistence on reusing the same music track for emotional moments really dulled its impact. By the end, it felt cliched and lost its effectiveness. As for the animation, it was fine—nothing really stood out to me. I wasn’t particularly impressed by the visuals in the opening or ending either, though I did like the character designs.

If you enjoy melodrama, you’ll probably love Fruits Basket. The romance was secondary to the character drama, and while I see why people are drawn to the series, it wasn’t entirely my thing. I respect what the show achieved, but I wouldn’t re-watch or recommend it myself.

Final Score: 7/10

• Plot - 7

• Protagonists - 7

• Supporting Cast - 8

• Genre - 8

• Art, Animation, and Character Design - 7

• Music, Sound Design, and Voice Acting - 5

Brave Bang Bravern! (CygamesPictures)

When a mysterious enemy known as the Deathdrives attacks Oahu, Hawaii, chaos engulfs the joint American-Japanese military exercises taking place there. Isami Ao of the Japan Ground Self-Defense Force and Lewis Smith of the United States Marine Corps find themselves in the midst of the carnage, their units scattered and overwhelmed. In the heat of battle, a mysterious robot named Bravern appears, selecting Isami as its pilot to face the invading Deathdrives.

After defeating the first Deathdrive, Superbia, the two soldiers discover a young woman named Lulu inside the wreckage. As she recovers under Lewis’ care, Lulu begins to develop basic human skills, adding another layer of mystery to the invaders and their origins. Together, Isami, Lewis, and Bravern must uncover the truth behind the Deathdrives while fighting to protect humanity from annihilation.

Similar to Mahoako: Gushing over Magical Girls, Bravern is supposed to be a love letter/shitpost on common tropes of the mecha genre. I'm not sure if I picked up on those elements, but I'm prefacing my opinions to give you an idea of where I'm coming from. Surprisingly, what I appreciated most were its comedy and parody elements, which outshone its action and sci-fi aspects. The show’s attempt to balance self-aware humor with serious mecha battles yielded mixed results.

The action scenes varied in quality, though some key battles stood out. For example, in ep. 9 Bravern and Isami's 1v2 fight against Pessimism and Vanitas. In my opinion, this was Bravern’s action peak. Bravern’s transformation into “Burn Bravern” felt like a climactic mecha-moment done right, capturing the genre’s over-the-top energy combined with flashy animation that stood out over the other fights Bravern previously participated in. I'll also throw the same praise for the third fight between Bravern and Superbia in ep. 11, but I do question its placement in the overarching story. Fighting Superbia while still dealing with the three Deathdrives in Hawaii disrupted the pacing of the final arc. Superbia seemed like the perfect candidate as the final Deathdrive to fight after Ira, which would’ve built better narrative tension. I’m not sure how Lulu would've felt about that, but that's how I felt after watching the finale episode.

Next up, I'll talk about the main cast, starting with Lulu. She had a rocky start for me. Her baby-like speech and high-pitched sounds were irritating early on and made her hard to like. Sure she was cute in her character design and mannerisms, but I'd be lying if I said her ga-ga-pi noises weren't grating against my eardrums. However, once she began speaking normally (post-Smith's death in ep. 9), she became more tolerable and interesting. Her backstory as a future traveler sent to save Bravern and Isami was intriguing at first but by the end, I felt like it was an unnecessary plot point that threw a wrench in what was already a complicated story. It's also implied that there are other Lulus out there commanding Deathdrives, which made me wish the show explored the lore behind the Lulus to some degree.

Isami was meh and was honestly too over the top. A brooding, determined type with a single-minded drive to “be the hero” made him predictable and hard to root for at times. His motivations were clear (saving the world and avenging Smith), but his emotional range felt limited. He stayed angry maybe 80% of the time with little personal growth until after Smith’s death. I also felt that while him surrendering to the Deathdrives in ep. 12 was meant for comedic effect, I don't think the show accomplished their goal; it felt like most of what Isami went through and learned in the episodes post-Smith's death was invalidated.

On the other side of the coin, Smith was arguably the more compelling lead and I actually felt something (in what's otherwise a show that I felt emotionally detached to) when he sacrificed himself. Which is why I feel that his sudden revival in the finale was cheap and unnecessary. Keeping him dead would’ve provided more thematic closure.

The supporting cast mostly served functional roles without much character development. They helped Bravern and Isami but didn’t have arcs of their own. If the show was two cours, maybe expanding on them would've been possible, but at least the show didn't try as hard to get me interested in them for me to think it was a missed opportunity. If anyone was interesting to me, it's probably Miyu the mechanic.

On the topic of supporting cast members, the Deathdrives’ motivations were particularly underwhelming. They pursued a “beautiful death” with each representing a human vice, but it all felt pretty shallow. Their invasion of Earth came across as obligatory villain behavior without meaningful stakes. I guess this is supposed to go hand-in-hand with the ways it parodies the mecha genre, but it remained uninteresting regardless.

Now I'm brought to exactly why the show was so enjoyable for me, and that's the comedy. The humor can be broken down into four categories: Engrish one-liners, self-awareness, running gags, and homoerotic undertones. Each time the show caught me laughing, the joke fell into one of these categories, and while some of them are repeated throughout the show they don't overstay their welcome enough to the point where they feel stale and don't land. The English expletives delivered with exaggerated Japanese accents never failed to amuse. Lines like “Oh shit!” from characters in tense situations felt intentionally jarring in the best way (e.g., Lulu appearing on top of Smith's TS in ep. 6). Moments like the diegetic sound of Bravern's OP/theme song playing, a hologram appearing behind him as if he's starring in an in-universe mecha show, and Isami reading off over-the-top lines as if they were karaoke lyrics were fantastic ways of the show paying homage and also poking fun at the mecha genre. Attempting to waterboard information out of Superbia was another hysterical and memorable scene for me. And finally, the various sexual innuendos sprinkled in (moments where you could theoretically add the Vine boom sound effect) culminating in Lulu finding Bravern and Isami in a compromising position in ep. 11 added much needed levity to what seemed like a heavy, dramatic plot.

Bravern was decent. Its excels with flying colors in comedy and parody, but what it presents in action and sci-fi falls a bit short. A lot of what bogs it down for me is the convoluted time travel plot, which got even worse when Lulu's introduced as a time traveler from the future. But in spite of its flaws, Bravern's humor and creativity kept it entertaining, making it a worthwhile, if uneven, watch.

Final Score: 7/10

• Plot - 6

• Protagonists - 7

• Supporting Cast - 6

• Genre - 7

• Art, Animation, and Character Design - 7

• Music, Sound Design, and Voice Acting - 7

Cherimaho: 30 Years of Virginity Can Make You a Wizard?! (Satelight)

Kiyoshi Adachi's life takes an unexpected turn on his 30th birthday when he discovers he can hear people's thoughts just by touching them—a peculiar ability linked to his lifelong virginity. While grappling with the implications of this newfound power, Adachi unintentionally overhears the inner thoughts of Yuichi Kurosawa, a charming and talented colleague admired by everyone at their office. To Adachi's shock, Kurosawa harbors a deep and unspoken romantic affection for him.

As Adachi navigates the awkwardness of knowing Kurosawa's feelings, he finds himself drawn to the sincerity and kindness Kurosawa consistently shows him. What begins as a surreal and comical twist of fate gradually blossoms into an exploration of vulnerability, self-acceptance, and the possibility of a genuine connection.

I’ve never watched BL before, so this show has effectively become my barometer for any BL I watch in the future. And honestly? It’s been set at a decent level. I came away with a mix of positives and critiques. The show has an earnest heart and a likable cast, but it’s held back by inconsistent execution and missed opportunities.

Adachi is one of the strongest elements of the series. Despite his insecurities and antisocial tendencies, he’s a genuinely kind and thoughtful protagonist who’s easy to root for. His reluctance to exploit his mind-reading powers, particularly when it comes to Kurosawa’s feelings, gives the story a strong moral anchor. Kurosawa, initially presented as a suave and perfect office star, is given more depth as the story explores his vulnerabilities and professional insecurities, making him relatable and complex.

The mind-reading premise adds an interesting layer to Adachi and Kurosawa’s relationship. It’s not just a gimmick; it’s used to show how even knowing someone’s thoughts doesn’t eliminate the challenges of communication. The confession scenes are well-timed, addressing their feelings midway through the season rather than dragging it out. This decision allows the show to explore their relationship post-confession, which is one of its strengths.

However, the execution of Adachi’s powers can feel inconsistent. Moments like the sauna scene in ep. 3, where steam amplifies Kurosawa’s thoughts, stretch the rules of the established mechanics in ways that feel like plot conveniences. These inconsistencies make it harder to suspend disbelief and detract from the story’s cohesion.

The side ship between Tsuge and Minato is underwhelming. While Tsuge’s power had potential, it wasn’t used in innovative or meaningful ways, and Minato’s character development felt rushed. His audition storyline, with its abrupt emotional swings, lacked the grounding needed to make it convincing. The writing seemed more focused on wrapping up their subplot quickly than on giving it the same care as the main couple’s story.

Other side characters had untapped potential. Fujisaki, for instance, could’ve added drama or intrigue but ended up being a dropped plot thread. Her portrayal as a fujoshi was played for cheap laughs, which felt like a missed opportunity to explore her character in a more nuanced way. Similarly, the connections between the main and side storylines could’ve been stronger. Adachi and Tsuge’s friendship gets a few meaningful scenes, but more interactions between them could’ve better tied their narratives together.

The pacing is generally solid, but the ending feels rushed. The final episode’s “marriage speedrun” wraps up the story cleanly but sacrifices the chance for a more open-ended conclusion that could’ve allowed Adachi and Kurosawa’s relationship to breathe more naturally. While I’m unsure if this adaptation covers the entirety of the source material, it felt like a complete, if somewhat hurried, story.

On the technical side, the animation is alright but ultimately unremarkable. The expressive visual gags tied to Adachi’s reactions to Kurosawa’s thoughts are a highlight, adding charm and humor to the show. The music is a mixed bag: the OP is forgettable, but the ED stands out for its ability to shift instrumentation to match the mood of each episode. This attention to tone helps avoid the tonal dissonance that can plague some anime.

Overall, Cherimaho was a good watch with a heartfelt story and compelling main characters. While its inconsistencies and missed opportunities keep it from being exceptional, it’s an earnest and enjoyable series that’s worth checking out.

Final Score: 7/10

• Plot - 7

• Protagonists - 8

• Supporting Cast - 7

• Genre - 8

• Art, Animation, and Character Design - 6

• Music, Sound Design, and Voice Acting - 6

Gold Kingdom and Water Kingdom (Madhouse)

Two neighboring nations, Alhamit and Balkari, have been divided for centuries by a history of conflict and a towering wall. A hundred years after a truce was declared, the kingdoms agree to a symbolic marriage intended to restore peace: Alhamit’s most beautiful princess will wed Balkari’s most intelligent man. But when the time comes to fulfill the pact, both kingdoms scheme to undermine the agreement.

Alhamit sends Sara, a kind but plain princess, while Balkari chooses Naranbayar, a modest scholar of little renown. Adding to the absurdity, Sara finds herself paired with a dog, while Naranbayar receives a cat as his supposed bride. As the two grapple with their kingdoms’ deceptions and navigate the political intrigues of their courts, Sara and Naranbayar’s paths cross. Together, they devise a plan to feign a romance and uphold the fragile peace. Yet, as they spend time together, their staged love begins to feel more real than they ever expected.

Gold Kingdom and Water Kingdom offers a compelling story that blends romance, political intrigue, and lavish artistry. However, while the central relationship between Naranbayar and Sarah is a key focus, the film struggles to balance its attention across its richly imagined world and ensemble cast.

While the story centers on Naranbayar and Sarah’s evolving bond, other key players like Piripappa, Leopoldine, and Saladin feel underdeveloped. These characters, part of the “cold war” between the two kingdoms, deserved more attention. The focus on the leads’ relationship comes at the expense of the broader political dynamics and character development. Even at the film’s climax, when Naranbayar and Sarah embrace after the sultan’s retreat, the authenticity of their relationship feels somewhat undercooked. There are standout moments in their romance—such as their first meeting in the forest, a nighttime conversation on the bridge, and their emotional climax on the ledge—but the connective tissue between these scenes feels thin. The subplot involving Sarah’s jealousy over Naranbayar’s supposed wife adds unnecessary tension and feels like an afterthought. When Sarah realizes the truth in a flashback, it barely registers, as the detail had slipped into the background of the story.

The movie’s depiction of Alhamit is stunning, capturing the opulence and grandeur of its capital city. However, Balkari doesn’t get the same attention. While this might reflect Balkari’s impoverished state, glimpses of its rich natural beauty, like Sarah’s scenes in the forest, tease a missed opportunity to explore the kingdom further. The imbalance in focus between the two kingdoms feels like a missed chance to deepen the narrative.

The origins of the first two wars—stemming from a dog and a cat on the border—are amusing but feel tonally odd given the film’s broader themes. While it may underscore the absurdity of the kingdoms’ hostility, it feels jarring in hindsight. A scene featuring a drinking contest between Sarah and the khan of Balkari could’ve added some levity and character development.

The film’s soundtrack is exceptional, composed by Evan Call. The music enhances every scene and contributes significantly to the film’s atmosphere. Combined with Madhouse’s impeccable animation, the auditory and visual elements are some of the movie’s strongest points.

Gold Kingdom and Water Kingdom is a solid film with beautiful visuals and a captivating soundtrack. However, its uneven character focus, underdeveloped worldbuilding in certain areas, and occasional missteps in storytelling hold it back from being truly great. While enjoyable, it leaves some lingering questions about what could’ve been with a bit more balance and depth.

Final Score: 7/10

• Plot - 7

• Protagonists - 7

• Supporting Cast - 6

• Genre - 7

• Art, Animation, and Character Design - 8

• Music, Sound Design, and Voice Acting - 9

Haikyū!! The Movie: Endings and Beginnings (Madhouse)

Shōyō Hinata’s love for volleyball was sparked by seeing the incredible feats of a player known as the “Little Giant.” Despite his small stature and lack of experience, Hinata is determined to reach those same heights. His middle school team’s first and only match ends in a crushing loss to Tobio Kageyama, a prodigious setter nicknamed the “King of the Court.” Fueled by this defeat, Hinata vows to surpass Kageyama.

When Hinata enters Karasuno High School, he dreams of joining its once-renowned volleyball team. To his shock, Kageyama is also on the team, turning his rival into an unexpected ally. The two must overcome their mutual animosity and learn to trust each other, forming a dynamic partnership that combines Hinata’s agility and jumping power with Kageyama’s precise setting. Together, they strive to rebuild Karasuno’s reputation and take on formidable opponents in the pursuit of national glory.

As the team faces intense practice matches and fierce competition, Hinata and Kageyama’s journey is not just about winning—it’s about growing as players, learning the value of teamwork, and pushing the boundaries of their potential.

I watched this as a prerequisite for the Dumpster Battle movie, instead of watching the first season of the anime. Based on the recommendation I received, the recap movie was supposed to be enough to understand the essentials. While it got the job done, I can’t help but feel like I missed out on something by skipping the full season.

The movie focuses heavily on Hinata and Kageyama’s relationship—their rivalry, struggles to work together, and efforts to become a cohesive part of Karasuno’s team. While their dynamic is solid and interesting enough, the supporting cast barely gets any attention. Since this was my first real exposure to Haikyū!!, I didn’t feel like I got much out of the team as a whole, and the stakes felt too low. Everything builds up to a practice match with Nekoma, and that setup didn’t deliver much intensity for me. I imagine the payoff would’ve been more satisfying if I’d seen the original episodes leading up to it.

The plot felt very introductory, which isn’t surprising for a recap, but that made it harder to get invested. Oddly enough, I enjoyed the Dumpster Battle movie later on, which makes me think I’d have a different perspective if I had watched the entire first season. The recap movie just didn’t have enough to pull me in.

Visually, the animation is fine. Considering this came out in 2015, it looks decent, but it doesn’t quite hold up against today’s anime standards. It’s not bad by any means, just a little dated in comparison to what we’re used to now. The music didn’t leave much of an impression on me. It wasn’t bad, but it wasn’t memorable either. It served its purpose without standing out.

As a recap movie, it did what it was supposed to do. It introduced the main players, gave a basic overview of the team dynamics, and prepped me for the Dumpster Battle movie. I’ve heard there are a few scenes in this movie that weren’t in season 1, but I couldn’t tell you which ones. If you’re short on time and just want the basics, this movie is fine. But if you’re interested in Haikyū!!, I’d probably recommend watching season 1 instead. You’ll get more out of the supporting cast and feel more connected to the story.

For me, this was a one-time watch. If I ever revisit Haikyū!!, I’ll probably start fresh with the full series. While the movie wasn’t bad, it didn’t hook me enough to revisit on its own.

Final Score: 6/10

• Plot - 6

• Protagonists - 7

• Supporting Cast - 6

• Genre - 6

• Art, Animation, and Character Design - 6

• Music, Sound Design, and Voice Acting - 5

Mahoaku (Bones)

An invading army threatens the safety of Earth, led by the feared and ruthless Lieutenant Shun Mira. Known for his terrifying efficiency, Mira commands his forces with an iron fist, setting his sights on a city guarded by the courageous magical girl, Byakuya Mimori. However, what begins as a clash of sworn enemies takes an unexpected turn when Mira finds himself captivated by Byakuya's gentle and unassuming nature.

Determined to win her over, Mira shifts his focus from destruction to a campaign of kindness, attempting to make her life brighter. Along the way, he uncovers a shocking truth: Byakuya’s magical abilities come at a cost, manipulated by her feline-like familiar who has been exploiting her for its own mysterious purposes. This revelation fuels Mira’s desire to protect her from further harm and give her a chance at true happiness.

As the conflict rages on, Mira and Byakuya grapple with the complexity of their growing connection. Can an unlikely romance bloom between a magical girl sworn to defend humanity and the lieutenant of an invading force bent on its destruction? Their story unfolds in a world where love and loyalty collide with duty and destiny.

When I first started watching Mahoaku, I had mostly positive impressions. The show's 12-minute episode format worked to its advantage, keeping the pacing tight and the humor fresh. Even jokes that were reused within the same episode managed to avoid feeling repetitive because the show never overstayed its welcome. However, after finishing all 12 episodes, my feelings are decidedly more mixed. What started as a promising parody of the magical girl genre ended as a show that struggled to maintain its charm.

One of the biggest strengths early on was the character-driven comedy. Mira’s over-the-top obsession with Byakuya was consistently funny, especially his dramatic attempts to win her affection while completely neglecting his villainous duties. Their dynamic had potential, but as the show progressed, it became clear that their relationship was one-sided. Byakuya’s feelings for Mira, if they existed, were buried beneath her aloof personality. While her occasional displays of appreciation for him were nice, they didn’t feel like meaningful development. By the finale, their relationship remained static, leaving Mira to shoulder the emotional labor of their dynamic. This lack of progression made Byakuya less engaging as a character, especially compared to Mira’s more consistent (and tolerable) behavior.

Byakuya’s character concept had promise. An orphan working as a magical girl purely to make ends meet is an interesting angle, and her backstory hinted at depth. But her detachment, while understandable given her struggles, made it hard to connect with her emotionally. Adding some vulnerability or giving her a clearer personal goal could’ve strengthened her arc. Her scenes with her familiar, the Catman, felt like they were building toward something, but the payoff never came. His tendency to withhold her money and assign her errands suggested an underlying tension or bigger plot point, but it ultimately led nowhere. In contrast, the Birdman familiar’s straightforward support of Hibana was simple but more effective, even if it lacked complexity.

Hibana herself was a highlight early on, with her violent, foul-mouthed personality delivering some of the show’s funniest moments. Her initial outburst as a magical girl parody felt fresh and set the tone for the series’ comedic edge. But like many of the show’s gags, her expletive-filled rants lost their charm due to overuse. The same could be said for Mira’s constant breaking of his glasses—a running joke that started strong but became predictable. The humor overall became stagnant in the second half, with few jokes evolving or introducing new angles to keep things interesting.

The supporting cast and subplots also left much to be desired. The rivalry between the bird and cat familiars felt underdeveloped and didn’t contribute much to the larger story. The evil organization’s camaraderie scenes seemed like attempts to add depth, but the minor villains didn’t feel integral to the narrative, making those moments come across as filler. There was also a missed opportunity to have someone within the villain organization hold Mira accountable for his repeated failures to capture Byakuya. Adding that kind of tension could’ve created more stakes or comedic friction, but the show never went there.

Production-wise, the show was decent. While the animation didn’t break any new ground, certain scenes—like Hibana’s magical girl transformation in ep. 6—stood out for being clean and visually appealing. Byakuya’s transformation, while solid, didn’t quite match the energy of Hibana’s. The overall visual quality was fine, but nothing particularly memorable.

In the end, Mahoaku is a show that had potential but didn’t fully deliver. Its short runtime helped keep the pacing brisk, but it also limited the amount of character development and plot exploration possible. The banter between Byakuya and Mira remained fun throughout, and the show occasionally leaned into its absurdity in a way that worked well. However, the lack of meaningful progression in their relationship, repetitive humor, and underwhelming subplots left me wanting more. It’s a decent watch for fans of magical girl parodies, but it’s not something I’d revisit or strongly recommend. With better pacing and stronger character arcs, it could’ve been something special. As it stands, it’s fine—just not particularly memorable.

Final Score: 6/10

• Plot - 6

• Protagonists - 7

• Supporting Cast - 6

• Genre - 6

• Art, Animation, and Character Design - 7

• Music, Sound Design, and Voice Acting - 6

Sasakoi: Whisper Me a Love Song (Yokohama Animation Lab, Cloud Hearts)

When bright-eyed Himari Kino attends her high school’s freshman opening ceremony, she’s captivated by the soulful performance of Yori Asanagi, a talented senior and lead vocalist in a band. Unable to contain her excitement, Himari confesses her admiration to Yori, but her choice of words leads to a misunderstanding—Yori takes it as a declaration of romantic love. Though initially surprised, Yori soon finds herself falling for Himari in earnest and resolves to win her heart. As the two navigate their growing connection, they’re drawn together by shared moments on the school’s rooftop and the melodies of Yori’s music. Amid awkward confessions and heartfelt encounters, can Yori turn admiration into true love, or will their budding relationship hit the wrong note?

“Jeric, didn’t you start this in the spring? How come you’re just finishing it now?”

Why, yes, my attentive reader. I did start Sasakoi in the spring like many others, but a series of unfortunate production delays not only hampered the quality of the show but also delayed its weekly schedule. It was delayed once after ep. 8 aired, taking three weeks off before resuming on June 23rd, and it was delayed again after ep. 10, taking a whopping six months before releasing the final two episodes simultaneously. The production and distribution has been mishandled so badly that Sasakoi isn’t even going to have a proper Blu-ray release like originally planned. You gotta sympathize with Eku Takeshima, the show’s creator, because no mangaka deserves to have their work get completely dumpstered like this.

All things considered, it was fine. The story itself had potential, and I can see why fans of the manga were excited for this adaptation, but it really didn’t live up to what it could've been. First and foremost, a lot of the issues came down to the production quality. The animation being the biggest letdown, which is especially disappointing for a girl band anime. When I think about how shows like Bocchi the Rock! or Girls Band Cry have raised the bar, this one just didn’t come close.

The music also fell flat on me. None of the songs were particularly memorable, and the performances felt too short to leave a lasting impression. Even the OP, which I thought was pretty good, couldn’t carry the show. The transitions between scenes were another weak point. They felt amateurish akin to a PowerPoint presentation, which broke my immersion. Some scenes were split into awkward shapes that seemed more like a way to cut corners than a deliberate stylistic choice. The production shortcuts were glaringly obvious and made the show feel very cheap. But considering Cloud Hearts' reputation, I can't say I'm too surprised.

Story-wise, the first half of the show was much better paced and more enjoyable. I liked the focus on Yori and Himari’s relationship as it was developing. It had a certain charm that made it easy to root for them. The second half, however, felt bogged down by the drama surrounding Shiho and her elongated backstory. Her falling out with Kyou and Aki, her jealousy of Yori, and the whole love triangle angle made things feel overly dramatic (at least for a high school romance).

I will say that the origin story of Laureley was one of the better parts of the second half. Learning about how Shiho, Hajime, and Momoka came to be, as well as the reveal of Kyou’s untimely death really piqued my interest. Plus, the twist that Momoka was actually Kyou’s girlfriend caught me off-guard. I wasn't particularly keen of Himari’s role in the second half as an intermediary between everyone; it felt like she was being pulled into the mess for the sake of driving the story forward.

The ending was alright. The resolution to Shiho and Aki’s drama felt open-ended in a way that I was okay with. Ending the show with a callback to Yori and Himari meeting on the school rooftop was sweet and tied things up nicely.

It had its moments, but the production issues and uneven storytelling in the second half held it back. It’s unfortunate that a story like this got such a lackluster adaptation.

Final Score: 6/10

• Plot - 6

• Protagonists - 7

• Supporting Cast - 7

• Genre - 6

• Art, Animation, and Character Design - 5

• Music, Sound Design, and Voice Acting - 6

The Big Reveal

Congrats for making this far! Or welcome, if you simply skipped to the end. So, why did I end up skipping a bunch of fall 2024 seasonals? The answer is pretty simple actually.

Introducing the 2024 r/anime Awards

This year, I decided to join the r/anime Awards as a juror. The awards are hosted annually by the r/anime subreddit, one of the largest anime communities online with over 12 million members. Since 2016, the event has celebrated anime across various categories, driven entirely by fan participation. After seeing last year’s results and feeling dissatisfied with some decisions, I applied and was accepted as a juror. For the 2024 awards season, I’m a member of the comedy, drama, and romance juries. Think of it like the Oscars’ Academy but much less prestigious and for anime exclusively.

Being a juror involves a significant time commitment. You must watch and evaluate many shows, discuss them in-depth with fellow jurors, and shortlist potential nominees. Each category selects five nominees through jury deliberations, while the public nominates the other five. This collaborative process ensures a mix of community input and juror expertise.

To fulfill my role, I had to shift my priorities this season. Shows I initially planned to watch, like Blue Box and Tying the Knot with an Amagami Sister, were postponed because they won’t be eligible until next year’s awards. Instead, I focused on titles relevant to my categories, including some I wouldn’t have considered otherwise (e.g., Brave Bang Bravern!, Cherimaho, and ‘Tis Time for “Torture,” Princess).

The awards also introduced a new “contract system” this year. When jurors shortlist a show, they commit to watching and discussing the least-watched show among the shortlisted candidates. This ensures all shortlists receive equal consideration. Additionally, the juror cap for each category increased to 25, allowing for more diverse opinions.

Despite the workload, the experience has been rewarding. I’ve engaged in thoughtful discussions with passionate fans and discovered hidden gems. However, it’s not without its challenges. Balancing my jury duties with life’s responsibilities has been tricky, as the intense schedule leaves little room for anime not relevant to the categories I’m a part of.

Public voting for the awards will conclude by the time this blog post goes live, and the ten nominees in each category will be announced within a week. From there, voting on the winners begins, culminating in a live-streamed reveal on March 8th. Unfortunately, I’ll miss the live stream due to attending Hololive EXPO and 6th fes in Japan, but I’m optimistic about the jury’s choices and hope our efforts resonate with the community.

I’ll be sharing my insights on the nominees and my top ten anime of 2024 in future blog posts. Until then, I’m focused on ensuring that the comedy, drama, and romance categories receive thoughtful representation.

TL;DR - I’m a juror for the 2024 r/Anime Awards, which celebrate anime across multiple genres. My role required me to shift my watch priorities and evaluate shows for the comedy, drama, and romance categories. The experience has been demanding but rewarding, exposing me to new perspectives and underappreciated titles. Stay tuned for more updates as the awards ceremony date gets closer.

Looking Ahead

Like I said, the next few months leading up to the awards will be hectic in terms of the volume of shows I still need to watch. Meaning I probably won’t be able to get to the winter 2025 seasonals I want to watch until mid-March the earliest. Some new shows I’m looking forward to watching include Sakamoto Days, From Bureaucrat to Villainess: Dad's Been Reincarnated!, and Flower and Asura. Sequels I’m looking forward to watching include The Apothecary Diaries, My Happy Marriage, and Hyakkano: The 100 Girlfriends.

In addition to attending Hololive EXPO 2025 and 6th fes, I’ll also be visiting other cities in Japan with my friend Andy in the two weeks leading up to the event! We’ll be starting in Kanazawa; making our way down to the Kansai region to visit Kyoto, Nara, and Osaka; then flying to Haneda Airport where we’ll be staying in Kawasaki. The city will be our base as we spend our last few days exploring Yokohama, inner Tokyo, and Chiba (where Holo EXPO and fes will be taking place). This is my most ambitious planned vacation yet, and you bet I’m going to be vlogging all of it!

Speaking of vlogs, I haven’t forgotten about my Anime NYC vlog! There’s just a ton of footage and a lot of elements I need to sync up, but I promise they will be live on my YouTube channel before I leave for this upcoming trip. Otherwise, I will never get through my video backlog, and trust me, that’s the last thing I’d want to happen.

As always, you can find me on my socials on my Linktree. Subscribe to my Substack to get the latest posts sent straight to your inbox as soon as they go live!

Thanks for reading, and I’ll see you soon!