| Magia Record: Mahou Shoujo Madoka☆Magica Gaiden (TV) - also known as absolute garbage - is something that should never be watched. This comes from someone who is a fan of both Studio Shaft and the Madoka Magica franchise. This anime, however, is perhaps the worst I have seen in a while. The main issue of the show is that it is an absolute mess. Despite having some potentially interesting concepts that could've been a nice addition to the Madoka Magica storyline, this anime presents them in such an awful manner. It's as if the producers of the show took the mobile game's story, stuck it in a blender, and presented the show as the resultant mixture. In 13 episodes, the show introduces far too many plot points and does so in a manner such that a typical viewer never grows to care for any of them. For example, the plot starts off with the main character, Iroha, looking for her sister who has mysteriously disappeared. However, the actual storyline hardly ever goes around to making this an actual conflict, only briefly mentioning it occasionally. This makes the viewer disinterested in this and other plot points. Not only that, but the plot is heavily rushed as well. In trying to cram the narrative into as few episodes as possible, the viewer is generally apathetic of what is going on in the anime as the storyline pulls an 80 mph in a school zone. The characters in the show are also disgustingly bland. They feel heavily one-dimensional due to the pacing of the plot, and as such, are characters that the viewer does not care about. I estimate that the show explored about 15 characters and yet did not manage to develop any of them. The best example of this is once again the main character, Iroha. In the search of her sister, we never see the deep bond that the sisters had for each other; instead, this is only known through Iroha mentioning this occasionally throughout the show. When the characters from One Room are about as developed as the characters from Madoka Magica Side Story, a clear issue is present here. Luckily, the art and music are great. Shaft being Shaft, they know what they are doing in that department. Both the opening and ending are solid songs, being about as good as most other ClariS songs. Also, the art is indistinguishable to the art in the original Madoka Magica. Though it is clear that this Madoka Magica Side Story shouldn't be directly compared to the original series, even as a stand-alone show, Madoka Magica Side Story fails in almost every way as an anime. Luckily, the last episode in the show introduced an interesting premise, so the show has potential to greatly improve in the upcoming second season. Score: 4/10 Would recommend to fans of watching paint dry |
NahLogicAug 17, 2020 1:32 AM
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| All my homies hate Mirai Nikki. I’ll start with the good aspects of this anime. The opening and ending songs are solid, fitting the show’s atmosphere well. The art is mediocre, meaning that it isn’t any Skelter+Heaven levels of disastrous. The concept of Mirai Nikki is unique as well. A short synopsis: 12 different players must use their diaries that can tell the future in order to be the last man standing. The concept is a strange mix of Death Note and Fortnite, two of my favorite things in the world! In other words, while the show has a solid foundation, it ultimately failed on so many levels. The largest issue I have with the show is its comedy. It’s pretty clear, just based on the show’s premise, that this survival game is of gruesome murder, doubt, and betrayal—essentially, what could be a nice and simple psychological show. I really do wish the studio and producers had gone this route, because what they did instead made the show much worse than it should’ve been. At random points, “humor” is interjected into the plot. It’s at the most random times, including when something dramatic is going on. Needless to say, this completely ruins the flow of the anime. Even if the jokes were funny, I doubt I would’ve enjoyed them due to the terrible pacing with the rest of the show. What really made me hate the anime, however, was the post-ending scenes of Mirai Nikki (Ura Mirai Nikki), which are two-minute comedic snippets of the characters’ lives. I assume they were made in order to provide some “comedic relief,” acting as a contrast to the actual show. This would’ve worked, if they didn’t give off the slapstick vibe that they do. Characters that you’ve seen die mere minutes ago are made fun of in such a tasteless manner, making them nothing more than jokes. I mean, I also laughed when some of these 1-dimensional characters died, but I wouldn’t expect the anime which took these characters so seriously to do the same. Speaking of, these characters were some of the worst I’ve ever seen. Each one of them is completely psychopathic, giving no care for anyone’s lives. Although some of them are given some kind of half-baked backstory to try to justify their actions, they barely do explain how any of these characters manage to be so deranged. The worst example of this is Yuno Gasai, the pink-haired yandere. I don’t want to spoil anything, so I’ll only say that her past doesn’t even begin to justify the many lunatic actions she commits. Of course, practically none of the characters changed throughout the show as well. All the characters remain in whatever archetype they’re in throughout all 26 episodes. I feel as though only one character was actually developed, and it was a sudden shift, rather than a slow and meaningful progression. Again, no spoilers, but the reason this particular character actually changed is well as perhaps the moronic one I think I’ve ever seen, in any show, ever. As for the plot...it’s average. The storyline is not as terrible as the characters or the comedy, but it still could’ve been played out so much better to the point where it makes it bad. There are interesting plot twists, but the way the show plays them out is god-awful. To summarize, Mirai Nikki really did have so much potential. If only the characters were better written and the comedy was actually funny or didn’t exist, then Mirai Nikki would’ve at least been a solid 6/10 show. But it’s not. This was the 2nd biggest disappointment I’ve had because of anime, the first being the Madoka Magica Side Story. At this point, I just want to watch what I know will be a good show, which is why I will be watching the second season of Pingu in the City. Score: 4/10 Would recommend to fans of 🤮🤮🤮🤮🤮 |
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| My Hero Academia Season 1: Uh oh. The music, art, and concept are all solid. However, the characters need so much more development for them to hold weight, which I hope the next seasons do. Also, the show felt a bit childish, as the characters' dialogue and actions feel definitely written for a younger audience. There are several moments feeling unimpressive for the amount the show hypes them up as well. Having said that, it's a show that you can have some fun watching if the brain is turned off. 4/10 prune Would recommend to battle shounen fans, though I suppose that such fans would've definitely watched this already. |
NahLogicSep 9, 2020 7:33 PM
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| FULL SPOILER WARNING!!!!! DO NOT READ THIS IF YOU HAVE NOT WATCHED MADE IN ABYSS MOVIE 3: DAWN OF THE DEEP SOUL. IF YOU HAVEN’T WACTHED IT YET, WHAT THE FUCK ARE YOU DOING????? - - - - - Made in Abyss Movie 3: Dawn of the Deep Soul Review (Read at your own discretion) Well, I call this a review but it’s more of a shortened version of a rant/discussion/personal organization of what I felt about the movie. Not much deep thought put into it, completely disorganized. Don’t expect something actually good from this. Holy shit. Holy shit. Holy shit. HOLY SHIT. The follow-up movie to my favorite anime of all time. Obviously I’m going to be biased. Unfortunately, everything I say in this review is objectively correct, and there is no valid argument against it. First, let’s talk about the easiest thing to talk about. The two things clearly discernible with one’s senses. The audiovisuals of Dawn of the Deep Soul. Made in Abyss once again delivers on its beautiful and absolutely breathing artstyle and animation. Made in Abyss Season 1 managed to impeccably portray grand landscapes and environments, full of detail and intrigue. DOTDS manages to execute the same quality of environment detail and art. The initial shot of the Sea of Corpses is once again, absolutely breathtaking. But the environmental art isn’t the only thing MIA has got going for it, of course not. It’s just something it is and has to be excellent in due to its Adventure aspect. What really takes the spotlight in DOTDS is the animated scenes of the action. From what I count off the top of my head, there are 3 distinct action scenes in DOTDS. The first fight against Bondrewd near the scorpion nest, the fight between Bondrewd and Dark Reg, and the final fight. All three times, the action animation was impeccable. No, it was beyond impeccable. It was excellent. Difficult angles that emphasize the action, camera movement to follow said action, and just absolutely beautiful art and animation all around. Bondrewd’s Gangway and Sparagmos are just amazing. The way Gangway illuminates the dark room, bouncing around in mere fractions of a section, and cornering Reg was just, yea. Words, words. Sparagmos is your typical laser, and it’s also animated really well. However, when talking about lasers in MIA, one must also discuss the star: Reg’s Incinerator. The Incinerator has one really big scene in the movie, and it just looks so beautiful. It was akin to an expanding star, and it just looked so pretty honestly. But the animation of the scenes itself, yes. I’m getting distracted. All the action scenes between Bondrewd and members of the Squad are incredible. Fast paced, yet easily understandable. Nothing is lost even when watching it with a casual energy. Reg’s arm movement thingy is animated so smoothly that it feels natural to the extent it’s almost like I’ve been seeing him use it since the beginning. The most impressive moment in terms of animation quality is Dark Reg vs Bondrewd. The way Dark Reg is drawn, with rough and dark line art, effectively emphasizes his lack of control and feral nature. In the end, DOTDS is an absolute treat for the eyes and manages to reach an animation quality that many movies are not able to, even with similar budgets. Made In Abyss: Dawn of the Deep Soul is worth watching just for its breathtaking animation. But, that’s only a mere part of what makes it so great. I did say I was going to talk about the audiovisual elements of the movie, so let’s discuss the “audio” aspect. Once again, the OST of DOTDS is created by the absolute legend, Kevin Penkin. Even for an amateur like me, I can go on and on about the aspects of each piece of music created for the movie, going over the instruments used, the motifs of each part, and the music theory behind it. Kevin Penkin is a fucking genius of a composer, and I don’t know why he decided to compose for anime instead of a more popular medium, but god damn was it worth it. Penkin’s pieces are incredibly poignant and manage to elicit powerful emotions in the viewer. When the title screen came up, an absolutely beautiful track played, foretelling the sheer amount of quality music that would be in the movie. The initial opening track managed to evoke emotions that I hadn’t felt in a while. It was so breathtakingly beautiful, the sound felt like it was penetrating my bones. To describe how amazingly orchestrated DOTDS’s music is, I’m going to go into just a few of the tracks. The first track in the OST, Echos. In the beginning, a sole violin plays. Then, you hear the rest of the orchestra quietly come in. Following the strings come the brass and timpani, adding great energy to the previously quiet and soft track. The song goes between an answer and response motif and a singular voice motif throughout its parts, and manages to convey, to me at least, the echoes of the voice of the Abyss. At times, soft and contemplative, and at others, bursting full of emotion and noise. Throughout the entire song, a sole violin remains prevalent, the one consistent, serene, and lyrical noise. Another amazing track is reBirth ft Takeshi Saito. The song opens with light pizzicato, with Saito’s amazing voice coming in after a few seconds. Slowly, more and more instruments are added. On top of the pizzicato, the other strings begin playing in arco. Then once again, the brass, percussion, and the entire orchestra chimes in. The song is a song of growth, going from nearly nothing to a song full of unique voices and motifs. In the middle, there is a stop, where the song reverts back into just pizzicato and Saito’s singing. However, the song once again picks up, filling with incredibly lively and amazing orchestra arrangement. Yet, in the end, the track shifts. It changes from a song of hope and growth into a song full of fear and negative emotion, with loud, dissonant synthesized sounds, which is Bondrewd’s motif. reBirth, to me, is the song of Prushka. It starts off soft and weak, with her going to a rebirth of sorts. She bounces back from the Abyss’s curse, gaining energy and hope. However, just like the song, all that energy is once again taken away by the curse when she attempts to climb the stairs. Once again, Prushka regains her energy and mind, joyfully living her own life, maybe even more joyously than before. Then, Bondrewd, in this case the dissonant, synthesized sound, interrupts her life. Prushka is “reborn” in more ways than one, and her story is clearly reflected in the song, reBirth. I really want to talk about one of the most iconic tracks in the DOTDS OST, which is full of amazing tracks. The one I want to talk about is The Rumble of Scientific Triumph. Now, by just reading the track of the title, one can easily discern who’s character song this is. Obviously, this is Bondrewd’s song. This song first starts off with what you would expect from the villain’s theme: eerie and foreboding piano and singing. Then, the background synth kicks in, which symbolizes Bondrewd’s connection with science. This is just to prepare for what’s about to come in. Finally, the melody synth kicks in, with two very interesting chord progressions, one after another. They’re incredibly similar, except for the last note of the progression. The first progression builds up to what seems to be a major chord with the first 3 notes, then immediately drops down on the fourth, coming back up a little on the 5th. The progression subverts the listener’s expectation and shifts abruptly to a minor progression. This gives a sense of sudden discordance and inharmony. Then, the second chord progression plays. The first 3 notes are exactly the same, so the listener expects the same minor shift once again. However, this time, the progression remains in the major key, once again surprising the listener. The first progression shows how Bondrewd, portrayed as one of humanity’s heroes, being one of the White Whistles, who are put on a pedestal, possesses negative and possibly evil attributes. This is parallel to how Reg and Riko discover how Bondrewd used Nanachi and Mitty without a care for them. However, the second progression tells the listener something different. It shows how Bondrewd is actually not an evil villain, but instead a human with hopes and ambitions. A double progression completely suited for Bondrewd. The song then truly begins, with its grandiloquent synth and percussion. The most interesting part of this track, however, is the chorus. The chorus, funnily enough, contains a chorus of children singing. The very children that Bondrewd, uhhh, “took under his wing”. In the end, the track fades away quietly, just like how Bondrewd decided to step back and lay his ambitions elsewhere. This track is Bondrewd personalized, and Penkin is amazing for managing to create such a perfectly personalized piece. In the end, every track holds a lot of meaning, but the songs themselves are great. The cheerful pizzicato, the ephemeral flute, the lyrical string arco, and the bombastic brass and percussion all come together to create an absolute masterpiece of an OST. The DOTDS OST would be a piece of art if it was just published on its own, but it accompanies and enhances the movie. The music stands out, yet completely melds into the anime itself incredibly naturally. Finally, let’s get into the meat of the movie: its plot, characters, and themes. When the movie first started, I made a few assumptions, following the tropes of previous anime. 1. Bondrewd would be a crazed madman hiding behind both a literal and metaphorical mask of normalcy. 2. Prushka would realize this, abandon her father, and join the Squad on the adventure to the bottom. 3. Lyza’s whistle would somehow resonate with Riko, or Reg would be able to use it due to his non-humanness. Now, turns out that I’m stupid, because all three of those assumptions were completely off the mark. The first one, that Bondrewd would be a masked piece of shit. I was half-ish right about this one. Bondrewd was indeed not a very good person, but not exactly in the way I expected. Bondrewd is a very smart villain. I mean smart as in well-written, not an intelligent character. Well, he is that as well. The more you watch the movie, the clearer it gets that Bondrewd is not your typical, run-of-the-mill evil villain for the sake of being the antagonist. Bondrewd has a clear set of morals, logical reasoning, beliefs, and motivations. Bondrewd does everything for one reason: for the sake of humanity exploring the Abyss. He chases science and logic in order to advance humanity as a civilization. He is the epitome of “The ends justify the means.” However, in his case, he does not really “justify” the means. He purely believes that what he does is something obvious and natural, and has no need to suppress any moral qualms about his abuse and killing of orphaned children. He even goes so far in his quest to kill himself and create his white whistle. It’s almost correct to say that Bondrewd has no morals, yet completely incorrect. At a certain level, he cares for the children. He memorizes their names, their hopes, and their dreams. He cares for them, in his own twisted and seemingly natural way. He connects with the children that he uses as his “family”, as he believes family is something that can be formed beyond blood. Bondrewd is such an interesting character, as he is an antagonist that can be clearly understood, even if his thoughts and beliefs are completely radical. Bondrewd maintains complete composure and manners at all times. His speech is incredibly polite, to the point where it seems to almost contradict his portrayal as an antagonist. He never forces Nanachi and the others to work with him, always politely requesting them to join him (well, I guess the attempted dismantling of Reg is a different story, but he changes his attitude once he sees something worth gaining from Reg besides dismantling him. Knowing him though, he would have probably dismantled Reg once he was done). Bondrewd never kidnaps the orphans that he uses for his cartridges and experiments, as they always follow him of their own volition. Prushka was raised with a form of affection, and was not abused in her maturation. The viewer can clearly observe the way Bondrewd acts, and sees that he is not unreasonable or purely evil. A little bit of subverted expectations, after all that buildup with him as the antagonist. However, Nanachi’s adverse reaction to everything he does and the previous build up instills a sense of unease in the viewer, which is proven to be the case when Reg is dissected. Bondrewd is a clear wall that the Squad attempts to surpass over and over again, finally succeeding in the end. Bondrewd, as the Sovereign of the Dawn, attempts to usher in a new “dawn” for humanity within the Abyss, with his scientific research and development. Once he realizes that the Squad can themselves lead humanity into a new “dawn”, he backs off and places his hopes within them. Bondred is an intriguing, multi-faceted antagonist that surpasses the majority of villains in anime. In my opinion, one of the greatest anime antagonists of all time. My second assumption, the fact that I thought Prushka would join the Squad. Haha, well…. yeah. Did not expect that to happen at all. She was really turned into a cartridge. Speaking of Prushka as a character, she’s quite similar to Riko. They’re both small children with the desire to explore and adventure, holding strong to their convictions. Unlike most anime, where the main character would use Talk-no-jutsu to get someone to switch sides and their beliefs in a matter of minutes, Prushka holds fast to what she believes. She has lived her entire life with Bondrewd, and he has treated her with care and a form of familial love. Prushka realizes that he understands her, but he ends up using her in the end. However, even after she’s turned into a cartridge, she continues loving and caring for her “Papa”, wanting to absorb his pain and curses from him. In the end, she loves both Riko and Bondrewd, naively hoping for all of them to go an adventure together while she lay dying as a ball of meat. I really like Prushka’s character, and how she respects and mirrors Riko. In the end, it is clear that Prushka is a different person from Riko, with different personalities and values. This leads into my incorrect third assumption, where Prushka’s will to support and her love for Riko transforms her into a White Whistle. It’s an absolutely gut wrenching and painful ending to Prushka’s life, yet necessary to continue Riko’s purpose and journey. In the end, Meinya ends up joining the Squad, instead of Prushka. General small things I’d like to mention now. Made In Abyss once again does really well in its worldbuilding. The fish in the beginning shows how unique and intriguing MIA’s creatures and world are. The Sea of Corpses and the Ido Front both seem completely organic within the world of MIA. Bondrewd is just an amazing antagonist overall, but also really off putting due to his quote unquote “morals”. Basically well-written. The movie was fucking brutal. Reg’s examination and dissection made me quite uncomfortable and worried. The explanation of how the cartridges are made were also HRMMM. Prushka’s dissection and creation into a cartridge, where she witnesses her body being cut up and opened. The scene where Prushka’s cartridge spills out, while Riko hugs it, wailing and sobbing. MIA doesn’t fear to make its viewers uncomfortable and put its characters through absolutely brutal situations. This is probably a good place to talk about the infamous “Papa Pole”. Yes, there is a reason for this. It’s the same reason compared to similar moments from Made In Abyss season 1. Moments like this are to highlight the skewed perspective that Riko, Prushka, and the other children have on the world. Even though they suffer through the harsh environment that is the Abyss, they are still children. They haven’t had time to mature, and lived their lives in a society with the Abyss as its center. Their sense of morals and beliefs are warped, as a result. The way Prushka and Riko refer to the, cough, “Papa Pole” without knowing of its implications, show how they’re completely innocent and unaware of sexual processes. Furthermore, the way Prushka specifically refers to it as the “Papa Pole” emphasizes the way her entire world revolves around her Papa, Bondrewd. Everything she thinks and does is based on what he says and does. In the end, that scene serves two purposes: to solidify Prushka and Riko’s characters and to make the reader/viewer uncomfortable. DOTDS truly expands upon the overall main theme of Made In Abyss. This theme, in my opinion, is that the Abyss holds everything for humans. It holds curses, blessings, mysteries, answers, creatures, environments, and the abyss itself. Bondrewd makes it clear that the Abyss bestows both Curses and Blessings, as Nanachi and eventually he receives. He states that the catalyst to said Blessing is love, a uniquely human emotion. The Abyss bestows horrible curses, yet at the same time grants those who survive superhuman abilities. The core of the Abyss is both inherently human and terribly inhuman. It houses multitudes of creatures and environments that are hostile towards humans, yet grants relics that allow weak humans to utilize supernatural abilities. The Abyss is home to an innumerable number of deaths, yet at the same time an immeasurable amount of life. The Curses of the Abyss are inherently dehumanizing the further one delves. It starts off with mere dizziness, but leads to the loss of the human body, which is done through hemorrhaging in the 4th layer. In the 5th layer, one loses their senses completely, removing what allows humans to essentially acknowledge they exist. And if one cannot acknowledge that they exist, do they exist at all? By taking away one’s senses, the Abyss takes away one’s sense of self along with it. It is clear that the Abyss clearly targets one’s humanity, as monsters like Meinya, the blob creatures, or Nanachi are not affected by the curse. In the sixth layer, one quite literally loses their humanity in one of two different ways: they become a monster or die. The way the Abyss takes away one’s human nature is quite obvious in this case. The Abyss is clearly meant for humans, one way or another. It’s either meant to trap and destroy humans, or made to challenge and allow them to grow. In DOTDS, we can see Riko’s growth (?) as a character. The further one delves down, the more one realizes exactly how deep the Abyss’s darkness is. Every White Whistle we have met so far is twisted in one way or another. The essence of being a White Whistle in the first place requires one to sacrifice others. This raises the question, how much of the Abyss can Riko handle? Riko, an impassioned, young, naive, and innocent child. How much can she handle of the Abyss before it destroys her? Riko has, more or less, maintained composure uncharacteristic of a child throughout the series, while at the same time retaining her innocent nature as a child. Even when she was on the brink of death, she remained, essentially, composed. However, the events in DOTDS has clearly scarred and changed Riko as a person. She truly realizes the dark nature of the Abyss in the way Bondrewd damages Reg and utilizes Prushka. When she realizes that Prushka was turned into a cartridge, she holds it, sobbing and breaking down. As Nietzche said, “If you gaze into an Abyss, the Abyss will gaze back.” Made In Abyss poses the question, can Riko maintain her sense of self and her humanity as she “gazes” into the true Abyss that a small fraction of humanity has ever seen a hint of? A small portion of the Abyss’s darkness is seen in Reg. Reg himself, as an Aubade, reflects the Abyss. He is full of mystery, without a certain origin. He holds immense power, and much care and love for the world and the people around him. However, in him is a great darkness, shown to us in the form of Dark Reg. DOTDS ends with viewers asking the usual questions: What is in the Abyss? What exactly is Reg? What will happen to Riko? However, DOTDS adds a layer of complexity to these core questions, and allows the reader to gaze a little bit further into the darkness called the Abyss. I can ramble on and on and on, but this review is way too fucking long already. Basically, absolute masterpiece of an anime movie. Anyone who hasn’t watched this should. - - - - - END OF REVIEW |
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| March Comes in Like a Lion is a must-watch. A quick synopsis: there are people that play shogi (Japanese chess). That’s all that can be really said about the exterior of the show because its beauty is held within. If you’ve watched Ping Pong the Animation, Sangatsu is very similar to that in how though the main focus is theoretically the game, the show takes much more priority in developing the characters instead. But that comes later. The easiest and best place to start is the audio. The openings and endings are rather solid, especially “Haru ga Kite Bokura” (Opening 4) and “I AM STANDING” (Ending 4). However, the music they use within the actual show is just extraordinary. Each track perfectly encaptures the situation and emotions in a very appealing manner. This especially holds true for the shogi matches. As two focused characters sit across from each other and the music begins to play, the music perfectly encapsulates the tone of the match to the point where each game develops an identity of its own. The lack of music just as much adds to the show during some scenes. When a match, for instance, is more serious, the music can cut out to leave only the echo of shogi pieces landing on the board, which holds a strangely engaging feel. The visuals too are excellent. I might just be a Shaft fanboy, but the art is done very beautifully. There’s a lot of moments in the show in which the viewer’s perspective will shift over to different scenery, which looks absolutely amazing. However, the audiovisuals should hold a speaking voice by the show rather than a wall of text, so I strongly suggest for you to check out the music and art for yourself. What caught my attention the most, however, was the symbolic way in which the story was told. There’s quite a number of moments in which the story steps away from what is going on in the current moment and goes to tell a story about one of the characters. The show does a fascinating job of taking in a symbolic element and relating it to a character in some way. This way of telling the story allows for the characters to be so much stronger and well-developed than in most other anime I’ve watched. I’ve seen the occasional complaint that this show is boring, with not much happening in each episode. This is accurate to an extent—Sangatsu is definitely one of the slower shows I’ve watched. However, this anime feels more like a poetic experience, unlike most other anime I’ve seen. It really divulges into the environment and characters, so it is inevitable that the show takes a bit of a slow route. This is a show that shouldn’t be rushed but rather taken at a leisurely pace. If you know me, you’d know that I’m particularly impatient when it comes to anime; I’ll generally prefer a fast-paced show over a slower-paced one. However, this show is definitely an exception. It’ll occasionally take a breath between its more dramatic moments, which nicely lets it do so much more in the process. The show’s slow, but I could never see it as particularly boring. Of course, I had a few issues with the show. For one, some of the characters were a bit unrelatable. The ones I did had left a strong impact on me, but there were some characters that I barely felt anything for, mainly due to a lack of screen time. Also, the slice of life elements of the show wasn’t anything special. They existed—they were good—but they weren’t special. When it comes to my favorite shows, I can usually see one or two objectively wrong things about them that I can usually overlook. For Evangelion, for instance, the pacing can feel quite off. In One Room, the girls are a bit underdeveloped due to the length of the series. However, when it comes to Sangatsu, it’s very hard for me to place my finger on anything that I can label as objectively wrong with the show. It’s just that well-made. The concept may seem a bit dull at first, but it’s very much worth a watch. Score: High 8/10 (Top 10 Show) Would recommend to fans of Ping Pong the Animation (in the development of characters), the Monogatari series (in the way the symbolism is done), and Barakamon (in the realism of characters) A quick note about the show: it’s 50% drama, 50% SoL. The show does both well, but it may not be worth watching if you’re only looking for one of these two genres. |
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