Parasyte: The Maxim, Review: Are You Really Izumi Shinichi?

I remember when I first got into anime years ago and one of the shows I considered watching because of the praise it recieved was Parasyte: The Maxim.
I intended to watch it but I got so caught up watching other anime that I eventually forgot all about it, until it was chosen at the anime club I go to.
It was not long ago that we finished the final episode and I have a lot of thoughts about the whole series.
Parasyte: The Maxim is directed by Kenichi Shimizu, and is a modern adaptation of the manga Parasyte by Hitoshi Iwakka, which ran from 1988 to 1995.
The story follows high school student Izumi Shinichi (Nobunaga Shimazaki), who wakes up one night to discover a strange alien-like worm burrowing its way into his arm and moving towards his head.
In a panic, he cuts off the circulation in his arm, causing the worm to settle there and eat it, taking its place as the Parasite Shinichi names Migi (Arya Hirano).
However, Shinichi has very little time to deal with the new guest in his body before Migi makes him aware of other Parasites, ones who successfully took over their hosts’ brains and are now regularly feasting on humans.
Viewing the two as a threat, the Parasites go on the attack, forcing Shinichi and Migi to work togethor in a tense partnership that draws many of the people Shinichi cares about into the bloody crossfire.

Shinichi and Migi battle multiple Parasites across the series, each more dangerous than the last.

This reluctant alliance between the human and Parasite grows magnificently across the story, with both Shinichi and Migi getting some excellent development, as Migi becomes more human and Shinichi less so, much of which ties into the themes of the story about what being human is and the effect we have as a species on the planet.
It is not just Shinichi and Migi who are interesting though, because there are also a plethora of interesting supporting characters, like the Parasite Reiko Tamura (Atsuko Tanaka) who’s growing humanity was engaging to see progress.
Of course, with quite a few characters in such a bloody series, it is inevitable that many of them do end up meeting tragic ends, creating numerous emotional and gut wrenching scenes… unless the character is being stupid.
I say this because Parasite is a show where a few of its supporting cast make excellent candidates for receiving the Darwin Award.
Seriously, the decisions some of these characters make are the most idiotic I have seen in a show. 

Yes, I agree Shinichi. Yuko really is an idiot.

Thankfully, these instances of stupidity, although extreme when they do happen, are few and far between and it do not come from Shinichi or Migi.
No, these two remain consistent in their intelligence and development, as they take on their opposing Parasites in many well done fight scenes, accompanied by a good score and animation.
This quality extends to the OP as well, Let Me Hear by Fear, And Loathing in Las Vegas, which was such a great choice because the lyrics coincide perfectly with the events and themes of the show all the way to the end.
Speaking of that ending, there is one aspect of it I am still a bit unsure of and this is the resolution to Shinichi and Migi’s relationship.
It just felt a little abrupt to me and I think it could have used a bit more time.
Otherwise, I actually loved this ending.
The final conflict Shinichi has was one I did not expect but I think it made perfect sense with the story’s themes about human nature.

I don’t think the final conflict of the story could have been done better to be honest.

Overall, all of this adds up to anime which does live up to the hype behind it.
There are some issues, like characters occasionally making absurdly stupid decisions and part of the ending feeling a bit rushed. 
However, the rest of it more than makes up for these minor problems, presenting an anime that has intriguing themes and a compelling dynamic between its two main characters.

To Your Eternity Review: A Bleak, Beautiful Masterpiece.

I had heard how emotional of a ride To Your Eternity was before watching it, but I only became aware of what I was getting into when I heard that the manga which the anime is based off was written by Yoshitoki Ōima, the writer of A Silent Voice.
I still find myself rewatching the anime adaptation of A Silent Voice from time to time and I always cry at certain points, whether its tears of joy or happiness.
So, I knew coming into To Your Eternity that I was probably going to end up crying… I was still not prepared.
Directed by Masahiko Murata, To Your Eternity begins with a seemingly cosmic being (Kenjiro Tsuda) releasing an orb which can take the forms of those it encounters to earth.
At first, the orb takes the form of a mere rock, until a dying wolf stumbles across it, and the orb takes the wolf’s form, then coming across the young man who the wolf belonged to.
And so begins the orb’s journey to learning what being human means in all of its beauty and suffering. 

The meeting between the orb and the boy begins this emotional, tragic adventure.

Eventually being given the name Fushi (Reji Kawashima), the orb encounters many different people over the years, from the young March (Rei Hikisaka) and her sister-figure Parona (Aya Uchida), to the masked Gugu (Ryoko Shiraishi), to the elderly Pioran (Rikako Aikawa).
Each of these characters leave an impact on Fushi’s immortal life, leading to many tear inducing moments when some of these characters meet tragic fates.
What makes it hurt all the more is how excellent these characters are.
Even the ones I was sure I was going to hate, like Pioran and Tonari (Eri Ingawa), I came to love.
Except for Hayase (Mitsuki Saiga), that crazy witch can burn in the pits of hell and you will certainly agree with me on that when you see the horrific things she does.
Although, we are supposed to despise her so she makes for a great villain.
The characters whose stories affected me the most emotionally would definitely be Gugu and Pioran.
Their stories are beautiful and tragic, resonating greatly with me.

Gugu’s story made me tear up multiple times. His was by far the most hard hitting story for me.

In fact, every storyline resonated with me, that is how great To Your Eternity is.
I already consider it to be a masterpiece because of that and how it gave me so many feelings.
The only criticism I even have is that the OP, “Pink Blood” by Hiraki Utada, does spoil some big events that happen, especially later on.
This does nothing to affect the show’s quality, though, and the OP itself is great.

Although the OP does have spoilers, it also has many fantastic subtle hints at what will happen, creating a much bigger gut punch when you realise the context.

Along with this, the score and animation are also quite good and there was never a moment where I was brought out of a scene.
No, I was gripped from beginning to end through all twenty emotional, gut punching episodes.
I cannot recommend To Your Eternity enough.
Just be prepared to cry until you’re all out of tissues when you watch this masterpiece of an anime. 
Season Two cannot come soon enough.

Overlord Anime Review: How to Take Over the World… Unintentionally.

After watching and loving Tanya the Evil, I decided to be more open to watching isekai’s and my first stop was Overlord.
I had actually tried watching this anime about a year or so ago but, for whatever reason, only got to episode three before I gave up.
This time, I actually committed to watching all three seasons and I enjoyed each one.
Adapted from the Light Novel by Kugane Maruyama, and directed by Naoyuki Itō, Overlord follows the story of Satoru Suzuki (Satoshi Hino), a salaryman in the future who is playing his favourite video game YGGDRASIL on its dying day.
Role playing as the skeletal overlord Momonga, Satoru decides to stay logged in until the game shuts down for good, only for him and the game’s NPCs from his tomb of Nazarick to be transported to another world.
Trapped in the body of his player character, Satoru takes on the name of his guild, Ainz Ooal Gown, and seeks to spread his name throughout this new world in the hopes of discovering other players trapped with him.
It’s just too bad that the NPCs, now very real monsters, see this as an attempt at world domination and now Ainz has to act like he is this all knowing overlord to keep their trust.
This makes Overlord different from many other anime out there because our main characters are quite literally evil.
And by “quite literally evil” I don’t mean, “oh, they’re just morally grey characters.”
No, what I actually mean is, “Jesus Christ, Ainz! Did you really have to go THAT far?”

That said, I am surprised that many people were surprised by the terrible things Ainz does in the third season, when he had been doing terrible things in the first two as well.

It’s a good thing that many of our central characters are so entertaining because, if they weren’t, then we would hardly be able to stomach their evil acts.
There’s Demiurge’s (Masayuki Katō) constant and humurous overestimating of Ainz’s abilities, Albedo (Yumi Hara) and Shalltear Bloodfallen (Sumire Uesaka) fighting over Ainz, Cocytus’ (Kenta Miyake) warrior code, and Sebas (Shigeru Chiba) the butler who is the one good guy of the bunch.
All of these characters are incredibly overpowered, which could have been a big problem because, in most shows with characters like this, their power makes it obvious that they will win any fight they have, resulting in zero tension.
However, because of the characters’ evil status, this is not the case with Overlord, though, as the ones our main characters face off against actually are good people and likeable.
Thus, the tension of these fights come not from us wondering if our main characters will win, but through us wondering if the likeable side characters will survive.

Every time a relatable character goes to fight Ainz, you will find yourself hoping that someone or something can come along to save them.

Despite the overpowered characters not being an issue because of how their fights are handled, I do hope that in the future of this story there is a point where Ainz has to actually struggle in a fight, without secretly having it all in the bag.
Maybe he could finally come across another YGGDRASIL player trapped in the world with him and they could offer him a real challenge?
Well, even if that does not happen, at least there will still be the entertaining characters with great humor accompanying Ainz’s continued unplanned takeover of the world.
These elements really do hold the show together though because the animation is nothing special.
It’s usually pretty good but there are some atrocious instances of CGI, especially in the third season.

Please. No more CGI goblins in the fourth season.

One thing that stays consistently great about Overlord, though, is its openings.
“Clattanoia,” ‘Go Cry Go,” and “Voracity” are all top notch openings that do a great job of showing what you can expect from their respective seasons.
I’m glad I picked up Overlord again.
I may have given up on it the first time after episode three, and I also felt like the first season did not grab me very well, but from season two onwards it’s been an enjoyable time.
Fingers crossed that Season Four can be just as good when that arrives, maybe with some improved CGI too.

Squid Game Review: Most Intense Show I’ve Seen in a While.

I doubt there’s anyone who has not at least heard of Squid Game yet.
The South Korean series, distributed by Netflix, has become a worldwide phenomenon, in the short time since its release.
This review is probably not going to be any different from the numerous other ones you may have heard, heaping praise upon the show.
However, like many other viewers, I was so enthralled by Squid Game that I couldn’t just not talk about it.
Created and directed by Hwang Dong-hyuk, the series begins with Seong Gi-hun (Lee Jung-jae), a gambling addict, who is in debt to loan sharks, desperately trying to salvage his relationship with his daughter who lives with his ex-wife.
After a strange encounter with a salesman (Gong Yoo) at a train station, Gi-hun is invited to take part in a series of children’s games where the winner will win a substantial amount of prize money.
Joining him in the games is Gi-hun’s childhood friend Sang-woo (Park Hae-soo), an elderly man with a terminal illness (O Yeong-su), the good nautred Pakistani Ali (Anupam Tripathi), North Korean refugee Sae-byeok (first time actress Jung Ho-yeon) , murderous gangster Deok-su (Heo Sung-tae), and 450 others, who also all have crippling debt.
However, the supposed kids games take a turn for the horrifying when the players learn the hard way that this is a death game, where most of them will probably be “eliminated” by the guards for losing before all six challenges are completed. 

Gi-hun and the 450 players will have to survive first if they want a chance to win the prize money.

And so begins the desperate struggle of the players to survive and win, with numerous instances of heartbreak and betrayal.
Squid Game is, without a doubt, one of the most intense experiences I have had with a show.
Almost every single episode had moments that left me shaking with anxiety out of fear for what could happen to these characters.
Speaking of, the characters are another thing this show excels at.
I came to care about so many of them, including some of the ones who are only around for a few episodes.
Even the characters you are supposed to hate are well written, with me literally screaming at the TV in disgust at their actions a few times.
They are all just so well crafted.
Squid Game may be centered around the death game, but it is the character drama that is the heart of the show.
This brings us to episode six, “Gganbu,” which I am sure we can all agree is the best episode of the entire series.
It is an absolute masterpiece that left me an emotional wreck after it was all over.

Be prepared to cry when you get to episode six of Squid Game.

It’s not just episode six, though, because all nine episodes are incredibly well crafted, with numerous excellent examples of foreshadowing and symbolism that make it great for a rewatch.
Apparently, Hwang had been trying for well over a decade to get approval to make Squid Game and, in my opinion, this was a good thing because it allowed him to plan out his story expertly.
The end result is various reveals that recontextualize a lot of moments as the story goes on, which left me feeling shocked and sometimes even betrayed (in a good way).
Accompanying this is the excellent commentary on capitalism, which South Korea just seems to be the best at, considering how well this commentary has been handled in other shows and films from the country, like the Best Picture winning Parasite.
Then there’s the score by Jung Jae-il, which is also great and helps improve on the already emotional and intense scenes.
It’s not all perfect though because there are a few hiccups here and there.
The most obvious issue, which is something everyone else has criticized, is the acting of the VIP characters.
I’m not sure if it’s the actors or the direction they got but their parts were mostly atrocious, with awful acting and dialogue.

The VIPs are easily the worst part of Squid Game.

Although, I’m sure our reactions to the VIPs are how most foreign viewers react whenever an English speaking film has someone acting in their language terribly.
Another thing I have seen people criticizing is the final episode, Episode Nine, “One Lucky Day.”
Honestly, I wasn’t sure how I felt about this ending at first either, however, after thinking about it and hearing other interpretations of the ending, I actually came to enjoy it quite a bit.
There’s plenty of foreshadowing for what happens and it stays consistent with the characters and their progression, while leaving the story open for a season two.

The ending of Squid Game is certainly not a happy one, although concerning the subject matter it is rather fitting.

Some are already eagerly anticipating this potential second season, while others are afraid they might ruin it if they continue.
Personally, I will be okay if they decide to leave it at one season but I do also want another one just to see where they will take it all from here.
A second season is almost guaranteed at this point, though, because of how high the viewership for this has been.
Squid Game is a fantastic show, despite a few issues, and it made me experience so many emotions throughout.    

Vivy: Fluorite Eye’s Song Review: What it Means to Sing With Your Heart.

The past year has sadly not been kind to the great WIT Studio.
Apparently they have lost 501 million yen, or 4.5 million dollars, in the fiscal year.
This is extremely unfortunate when you consider not only what they have put out before, like Attack on Titan for example, but also what they put out after such a loss.
One of these anime was Vivy: Fluorite Eye’s song, probably one of the year’s best anime.
Created by Tappei Nagatsuki and Eiji Umehara, the story is set in a world where AI technology has progressed to the point that many of them appear human.
One of the most advanced AI is Diva, called Vivy (Atsumi Tanezaki) by one of her young fans, and her reason for existing, or her “mission” as the AIs call it, is to make people happy with her singing.
However, this may not be so simple because she suddenly finds herself being recruited by an AI named Matsumoto (Jun Fukuyama), who was sent from the future to stop an AI takeover where all of humanity was slaughtered.

Preventing rogue AI from killing all of humanity is hardly an original concept, but Vivy: Fluorite Eye’s Song tells it extraordinarily well.

Reluctantly joining Matsumoto, Vivy goes on a series of missions to prevent the AI uprising and learn what it means to sing with your heart, all in the span of 13 amazing and emotional episodes.
What makes these episodes so great is how they not only build upon Vivy’s character, and her growing partnership with Matsumoto, but also develop the many different side characters in their own side narratives, whether they be human or AI.
The emotion produced from these scenes is helped by the excellent animation and soundtrack.
This standard of animation also extends to the action sequences, which are nothing short of spectacular, with their constant fluid movement.

If you pause at any point in an action scene of Vivy, you will most likely find plenty of detail, showing how much effort was put into animating all of this.

As for the soundtrack, there are many amazing songs that I have found myself constantly listening to ever since I finished the show.
From the OP “Sing My Pleasure,” to its counterpart track by Grace, to the titular “Fluorite Eye’s Song,” which got me tearing up when I finally heard it.  
All of this combines to create a spectacular anime that I would highly recommend.
I cannot think of a single weak episode among the lot.
They all either bring an emotional moment or an interesting twist to the story, with fantastic development for Vivy, Matsumoto and the side characters, alongside an excellent soundtrack and vibrant animation.

Vivy: Fluorite Eye’s Song is a complete package anime. I’d call it a masterpiece.

I hope that Vivy: Fluorite Eye’s Song can help get WIT Studio’s profits up, along with whatever anime they go on to produce in the future.
Check out this emotional rollercoaster ride of an anime if you have not already.   

 

Berserk Chapter 364, A Tear Like Morning Dew Review: The Final Chapter(?).

When I first read Kentaro Miura’s Berserk and reached Chapter 363, I remember excitedly going to read the next chapter, only to realise it was the last one released before Miura’s tragic passing.
I was sad to see that I and many other fans would not know how Miura intended to continue the story, especially after the cliffhanger of the Moonlight Boy meeting Guts again.
This is why I was very excited to hear that there was one final chapter Miura completed that would be released, Chapter 364, “A Tear Like Morning Dew.”
After eagerly anticipating the chapter for a while, I finally read it and am pleased to say that what may be the final chapter of Berserk we ever get did not disappoint.
Picking up from the end of the previous chapter, “A Tear Like Morning Dew” begins with the first of many father and son antics, with the Moonlight Boy instantly climbing atop Guts’ Berserker Armour to rest on his head.
Guts brings him inside so he can be with Casca and what follows is a humorous sequence where Schierke mistakes the child for a disguised Danann.
The face she pulls when she realises she was wrong is so comically out of place with the rest of Miura’s artwork that it heightens the comedy of the moment.
After this scene, we get our reunion between Casca and the Moonlight Boy, only now Casca has all of her memories.
The connection between the two is obvious and Danann quickly picks up on it, along with the boy’s connection to Guts.
The following panel of Guts sitting outside while everyone reunites with the Moonlight Boy is both beautifully drawn and also highlights his purposeful distance from Casca, due to her trauma, as illustrated by the bottom panel of Casca lying in bed with the Moonlight Boy, seperated from Guts.
Once this distance is illustrated, we get many more wholesome moments between the seperate parents and their child, as Casca continues to bond with him while Guts trains.
This training does not last though because the Moonlight Boy quickly interrupts, sneaking into Guts’ Berserker Armour in a downright adorable moment.
After helping the boy out of the armour, Guts then leads him back to Casca, telling him to go be with them, once again keeping a respectful distance from Casca.
Their relationship is truly tragic and it is a sad thing we may never know how it ends for them.
Even sadder is the scene that follows, the final scene of this potential final chapter, which serves to punch us all in the gut.
This is Berserk after all, so we all knew there just had to be a catch to the numerous wholesome scenes with the Moonlight Boy in this chapter.
Turns out that catch is the brutal confirmation of the theory that the Moonlight Boy and Griffith are connected.
As Casca has a dream remembering her connection with her mutilated ghost baby and how this saved her during the Conviction Arc, she seems to awaken with a realization and runs outside to see Guts standing before the Moonlight Boy.
The child begins to speak, however, as he does so, their body begins to change.
“I had a dream. Under the fool moon, I was a child embraced by a nostalgic warmth. But when I wake from the dream, only a vague sense of longing remains… that too, will soon disappear… with a single tear like morning dew.”
With these fittingly poetic lines, the speaker turns, revealing the Moonlight Boy to have transformed into a Griffith, tears spilling from his eyes, bringing the chapter and potentially the story of Berserk to a close.
This was a fantastic chapter, full of both wholesome moments and gut punches.
If it really is the final chapter of Berserk, then I think it is a fitting one.
Is it frustrating for it to end on such a massive cliffhanger?
Certainly, however, it is important to take into account whether this story should continue without Miura’s guidance.
What were his wishes concerning the future of the story in case of his passing, if he had any, and will anyone be able to take over the story until its conclusion?
It is not unheard of.
For example, Brandon Sanderson took over the Wheel of Time after Robert Jordan’s unfortunate passing due to a terminal illness.
Maybe there is someone who could take over Berserk and end it for Muira.
Again, though, Muira’s wishes do need to be considered here first and foremost.
He is the creator of Berserk and his wishes for his series should be respected.
Whether this magnificent story ends here or continues, “A Tear Like Morning Dew,” is yet another brilliant Berserk chapter and Muira deserves all the thanks for gifting this great story that has influenced so many other creators.

Choujin X, Chapters Eight and Nine Review: Dreams of the Choujin.

Chapter Eight: My Benefit.
The eighth chapter of Sui Ishida’s Choujin X, “My Benefit,” is another solid chapter that picks up well with the aftermath from Tokio and Ely’s fight with the Snake Choujin, Nari.
It starts off by immediately dismissing my theory that Tokio’s name being mistaken for Zaven in the last chapter would allow him to hide his true identity from the Choujin organization, while continuing to help them.
It actually turns out that whole Zaven thing was just a gag because the organization of Yamato Mori knows who Tokio is and have given him the story that he is now a witness for a secret agent, so his family and people at school will not learn that he is a Choujin.
The only one who does know from Tokio’s life is obviously Azuma, who takes the time to apologise to Tokio for yelling and not helping him when he needed it.
Tokio forgives him and admits Azuma was right about him constantly relying on people.
Things seem good between the two but the next panel displaying the light reflecting off Azuma’s glasses, hiding his eyes, does raise some suspiscion.
I wonder what is truly going through Azuma’s head?
After this, Tokio goes to Yamato Mori to learn about his registration.
It’s here that he meets up with Ely and two other Choujin, Simon Kagomura, who was the Choujin who saved them from Nari last chapter, and Maiko Momoma, the woman seen with Ely in the last few chapters but who had her face hidden previously.
The two inform Tokio and Ely about the registration system.
Simon and Maiko, along with others at Yamato Mori, have Class A registration, meaning they can use their powers for research or the betterment of society, like protecting people from Choujin attacks like Simon did with capturing Nari.
Tokio and Ely are about to receive Class B registration, which will only allow them to use their powers if they or others are in danger, or by accident since Choujin powers are connected to emotion.
Tokio does express some interest in getting Class A registration but Simon’s scolding gets him to meekly relent.
We then get our first look at Maiko’s powers when she uses super strength to clear a fallen tree.
She makes Tokio and Ely look away when she does this though, so she must be shy about it for some reason.
Either that or there is a practical reason for her trying to hide her power, which could be revealed later.
Following this, Tokio and Ely are interviewed by Sandaq, who drills them on what they consider to be good and evil, and who they consider their allies and enemies to be.
He then hits them with the impotant question that shapes the chapter and possibly Tokio’s life going forward: what do they hope to benefit from their lives?
For Ely, the answer is easy: money.
That’s right, we got another Ochako Uraraka on our hands here.
Although, the dream for money to make them and their loved ones happy is pretty much the only similarity between the two.
On another note, I’m interested to see what the other character’s thought about Ely’s declaration, since it could be interpreted as not being noble and the reaction panels we get from Tokio, Sandaq, Simon and Maiko are interesting.
Yet, this bit is cut short for a comedic moment when Sandaq questions if it will make all of her wishes come true and Ely says most of them, reminding us again of her crush on Sandaq.
I wonder if this will become a running gag or if Ely’s crush on Sandaq will become disillusioned in the future?
Maybe like how Tokio and Azuma’s friendship could become broken if their bond is going the way I think it is.
Once this comedic moment is over, Sandaq turns to Tokio and asks him the same question but, unlike Ely, Tokio has no idea what he hopes to benefit.
It is interesting how most other protaganists in manga have some kind of goal or dream to achieve at the beginning of their stories.
Izuku from My Hero Academia wanted to become a hero, Eren from Attack on Titan wanted to exterminate the Titans, Denji from Chainsaw Man wanted a good life and to touch some boobs.
Tokio, on the other hand, does not know what he wants and it is a pretty good change of pace.
He and Ely really are complete opposites.
Whereas Ely is already certain about what she wants in life, Tokio is hesitant and uncertain.
Ely later confronts him about this, asking what’s the point of living without a dream, probably coming off more insulting than she intended.
With this scene expanding on the opposites dynamic of Tokio and Ely, it also offers a possible character arc for Tokio in the future, as he could slowly begin to sperate from needing Azuma and discover his own dream and strive towards it.
This could also be foreshadowed in the next scene where a news report states that a vulture and a tiger remain at large, having escaped from the zoo Tokio and Ely fought Nari in.
Tokio is definitley being represented by the vulture and Azuma most likely the tiger.
Whatever Tokio decides his dream is though, there will probably be complications to achieving it, no doubt mostly caused by the enemy Choujin out there.
We get our first look at two of them after the zoo symbolism, and these Choujin are revealed to be named Ririka Umezawa, or Ume, and Richard, or Ricardo, in the next chapter.
These two dangerous Choujin have been sent to clean up after Nari, probably by the masked Choujin who started this whole thing.
But, because this is Choujin X, there has to be some comedy so, instead of ending on this ominous note, the chapter instead ends with Tokio curiously asking his sister what dreams she has, only for her to shout that it is to marry into money.
I guess her and Ely would get along then.
Overall, “My Benefit” is another solid chapter for Choujin X. 
It formly introduces us to some interesting characters and excellently sets up the future of Tokio’s character arc, wherever that may take him.

Chapter Nine: Sinker, Part 1 – Grounder Boy.
Chapter Nine picks up from “My Benefit” in an interesting way because, while it continues to expand on Tokio’s lack of a dream, it seems to contrast this with a new character whose dream was destroyed by him becoming a Choujin.
This contrast starts with two sets of characters, Tokio at his home, and the Choujin Ume and Richard in what appears to be a motel, watching Azuma’s baseball match on TV.
On a side note it is intriguing to see how this world differs somewhat from our own through the portrayal of baseball, with the bases seemingly being in the shape of a hexagon.
The main focus is on how this sets up the introduction for the new character though, with Azuma’s skills being compared to that of a student who was even better than Azuma.
However, Richard says that he had to quit because he turned into a Choujin in the middle of a match.
This student is then revealed as Tezuya Shiozaki, who will clearly be a big focus of the next chapter, if the Part 1 in the title refrencing him is any indication.
From his introduction, we cut to an expansion on Richard and Ume, as Tokio sees their wanted posters.
Noticing this, another new character, Ichiro Sato, who is explained by Simon to be Sandaq’s protege, tells Tokio that Ume is the Paper-Cutout Choujin who is responsible for numerous bank robberies.
As for Richard, he is a Tentacle Choujin who works as a bodyguard for criminal organizations, but also betrayed one of these groups, killing all of the members.
Since we have seen Richard working with Ume, I wonder if that means she hired him to help her in whatever job she has been tasked with?
Back to Tokio, he sees Ichiro taking Tezuya for his latest Choujin evaluation and Tokio becomes intrigued when Simon tells him that Tezuya used to go Tsuru High, like him.
This intrigue is interrupted by anoter great gag when Ely wonders aloud if Yamato Mori could make her some cash, and her eyes become coins, much to Tokio’s exasperation.
From here, we get a brief look at Ichiro’s evaluation of Tezuya, during which he claims to not be interested in baseball anymore, and afterwards has a brief interaction with Tokio.
Following this, Tezuya goes home to his siblings, only to take part in a bank robbery later.
It would seem losing his dream of baseball thanks to his Choujin powers caused Tezuya to go down a dark path.
Once this is displayed, we get another showcase of Tokio and Ely’s days at Yamato Mori, with them watching a presentation on what the consequences can be if they lose control of their Choujin powers.
Maiko also falls asleep during this, which is comedic since it seems she was supposed to be supervising.
In the next scene, we then get an expansion on Tokio and Ely’s growing friendship, with Tokio teaching Ely how to use a phone so she can call her grandfather.
The two then walk out, with Ely consoling Tokio, telling him it does not matter if he does not have a dream, motivating Tokio begin trying to find his own dream .
This causes Ely to ask if he can help her find something, but we don’t hear what.
Then, for the last scene, we cut back to Tezuya, who discovers one of Ume’s cutout dogs, which shocks him when he grabs hold of it.
This is concerning because if Ume and Richard learn of Tezuya’s darker side then they could try to recruit him, maybe even blackmailing him.
Yamato Mori certainly would not be pleased if they learned of Tezuya’s nightly activities, after all.
Still, Tezuya has a chance of redemption from Tokio and Ely, as the chapter ends with the two of them seeing him illegally use his Choujin Powers to steal a soft drink when the vending machine won’t accept his money.
How fitting that the chapter ends with the Choujin whose dream was destroyed by becoming one about to have a conversation with the Choujin who does not have a dream and the one who does.
This could lead to some interesting growth for all three characters, so I am intrigued to see where Chapter Ten will go.
The ninth chapter of Choujin X is another solid one from Ishida.
He has yet to release a bad chapter for this series.

The Saga of Tanya the Evil – The Movie Review: Tanya vs the Literal Mary Sue.

I loved the first season of The Saga of Tanya the Evil so immediately after finishing it, I naturally moved on to watching the movie, which was released two years after the show.
Directed once again by Yutaku Uemura, and based off the light novels by Carol Zen, The movie sees Tanya (Aoi Yuki) and her battalion of mages sent to infiltrate and spy on the Russy Federation, this world’s version of the Soviet Union. 
However, once inside, the plan instantly goes awry, causing a chain of events that creates a film which is a worthy sequel to the anime.

“They’re Commies. Blow the s#$t out of them.” With these words, Tanya and her batallion begin their mission.

I was not let down by this movie, even though I felt like some things could have been improved upon.
The first of these things is Tanya’s relationship with Being X.
Her rivalry with the self proclaimed deity was a highlight for me when watching the show, so I was disappointed to see Being X not drop in personally to gloat to Tanya in the movie.
Another disappointing thing was that there is a flash forward, which clearly spoils the outcome of the entire war.
This should have been cut entirely.
I have heard it is like this in the light novels but, come on, knowing what’s going to happen to the Empire does remove the tension, somewhat.  
The last criticism I have is of Tanya’s actual rival in this film.
You see, certain circumstances inside the Russy Federation lead to Tanya being confronted by the daughter of a solider who she killed in combat.
This girl’s name is Mary Sue (Haruka Tomatsu).
No, I am not kidding, there is literally a character called Mary Sue and, as her name suggests, she is ridiculously overpowered, most likely because of Being X’s involvement.
Now, I know Mary Sue being overpowered is clearly the point.
She is a character that is supposed to play off the stereotypical tropes of the Mary Sue archetype, possibly serving as a parody.
However, Mary does not feel like a parody but rather just a general usage of the Mary Sue trope, without anything new or interesting done, which makes her pretty annoying.

Mary is more like an actual Mary Sue rather than a commentary on the trope.

I know I have been criticising this movie a bunch when I said I enjoyed it and I did.
I just wanted to get a few of my grievances out of the way first before I got into the praise.

First of all, Tanya is once again a fun character to follow.
Not only is it still exciting and somewhat funny to see a salaryman in the body of a child plan and then carry out military operations, but the animators also clearly go all out animating her expressions, especially when she indulges in her sometimes crazy outbursts.
Just like in the show, the action is also great, with the sound design once again being stellar.
Then there’s the comedy, which had me burst out laughing a few times.

This reaction is pretty funny. Watch the movie and you’ll know why.

I will also say that this film contains a scene which is probably my favourite of the entire anime so far.
Watching this movie after the anime left me wanting more, so I was overjoyed to hear that a season two is currently being made.
Hopefully it will live up to the standard set by its predecessors.
Until then, there’s also a comedic OVA “Operation Desert Pasta,” which is pretty good as well.
The Saga of Tanya the Evil: The Movie is a worthy follow up to the anime and I cannot wait to see more from the monster in the form of a little girl.    

The Saga of Tanya The Evil Review: The Monster in the Form of a Little Girl.

Before I begin the review, I will say that this contains spoilers for a reveal that happens early on, which will work a lot better if you do not know what it is going in. So, if you have not yet watched The Saga of Tanya the Evil, then it’s probably best to avoid this review until you have.

When it comes to picking an anime to watch, there are two features which, if present, will usually make me avoid the show I hear they are in.
These two things are the genre of isekais and character trope of lolis.
I don’t have anything against isekais, it’s just that I have found that they usually do not appeal to me.
Then there are lolis, which I don’t think I even need to explain why I find them to be an automatic avoid requirement for an anime.
However, despite The Saga of Tanya the Evil both being an isekai and having a loli as the main character, I heard great things about it, so I decided to give it a chance and was surprised to find that I loved it.
The isekai aspects of the show only make its premise way more interesting and the loli Tanya (Aoi Yuki) is not sexualised in any way (thank god).

Tanya being a child is wisely used as an often comedic or unnerving juxtaposition with her status as a military leader.

Directed by Yutaku Uemura, and based off the light novels by Carlo Zen, The Saga of Tanya the Evil tells the story of a salaryman in Japan, whose job it is to fire unproductive people at the company he works.
However, he is particularly ruthless and uncaring in his treatment of others, and this leads to a man he fired murderering him by pushing him in front of a train.
Just as he is about to die, the salaryman is confronted by a being who claims to be God, who is dissatisfied with the lack of faith in him.
It is at this time that the salaryman makes the unfortunate decision to declare that he is an atheist and does not believe he is talking to God, dubbing him Being X (Hideaki Tezuka) instead.
This leads to the first of many funny cases of miscommunication where the salaryman’s mocking comments cause Being X to believe that if the salaryman is reincarnated in a harsh situation then he will find faith in God.

And so the salaryman’s isekai journey begins.

Thus, the salaryman is reincarnated as the girl Tanya Degurechaff in an alternate version of Germany, known as the Empire, during a World War One where magic exists.   
Wanting to secure a good life for herself, Tanya enters the military at nine-years-old with the hope of using her experiences from her past life to earn a comfy position safe away from the battlefield.
Only problem is that her constant miscommunication with people, and Being X’s interference keeps pushing her to the front lines.
And it is here the good usage of the isekai genre and loli elements come in, with the isekai storyline creating Tanya’s rivalry with Being X during the conflict, and the loli stature of Tanya creating the amusing display of a little girl as a military leader.
Or, as Erich Rerugen (Shinichiro Miki) would call her, “a monster in the form of a little girl!” 

Tanya’s creepy faces get a lot of animation. Looking at this it’s not hard to understand why Rerugen is so unnerved by her.

It is this “monster” who is by far the most interesting character in the show.
The other characters are good but it’s Tanya who carries the whole thing, with her military genius, often crazy personality, and struggle for her own human autonomy against what is essentially God.
Speaking of that crazy personality though, it does lead to a few technically-not-a-war-crime-because-of-loophole scenarios and, oh, boy, are those dark.
A lot of the military strategy surrounding these events are also quite interesting to sit through, and when it comes to the actual combat of the series, it does not disappoint.
However, the thing I want to praise most about the action is not the animation but the sound design.
Seriously, the sound of the explosions and gunfire is top notch and makes the world of this horrible war feel tangible. 

I found myself often replaying the action scenes just to listen to the glorious sound design.

It is not all action though because the comedy is also well done.
I have already mentioned that Tanya gets into a lot of difficult situations due to miscommunication with her superiors, and it gets funnier every time. 
So, with an intriguing story which is lead by an interesting, morally grey character, featuring great action with terrific sound design, some comedic moments and engaging instances of military strategy, it is easy to recommend The Saga of Tanya the Evil.
It has certainly made me more likely to check out other Isekais in the future… not other animes with lolis though because I’m pretty sure most of those are going to be just as creepy as they appear on the surface.   

My Hero Academia Season Five, Episode Twenty-Four, Tomura Shigaraki: Origin Review: Rise of the Demon King.

If I’m honest, The My Villain Academia Arc has not exactly been handled well in this fifth season of My Hero Academia. 
It’s pretty obvious that Studio Bones just prioritized the heroes development over the villains here, with them rearranging the arc and giving it less time to be fleshed out because of filler episodes and moments beforehand, most of which were to hype up a non-canon movie.
This has made the My Villain Academia storyline a disappointing adaptation, which is extremely unfortunate when you compare it to the greatness of the manga.
You know something went wrong when plenty of people think that the Joint Training Arc was adapted better than the My Villain Academia Arc.
Well, at least I can say that Studio Bones finished the arc well.
The last half of Tenko Shimura: Origin did a fantastic job of adapting Shigaraki’s backstory and, now, Tomoura Shigaraki: Origin has continued this by ending the storyline with even better quality.
I wish the rest of the My Villain Academia Arc had been adapted as well as it was in this episode.
Picking up from the reveal of how Tenko Shimura “accidentally” murdered his family in the previous episode, we see the poor boy walking the crowded streets, filthy and bloody.
Surely someone helps him, right?
Wrong, because as soon as anyone gets a good look at his frightening face they naturally assume a hero can deal with it and abandon the child.
This perfectly points out the flaws in My Hero Academia’s hero society.
The civilian population is so complacent with the system that they full-heartedly believe a hero can solve any problem, and they don’t need to do anything, so they leave a child begging to be saved alone.
Unfortunately for Tenko, and the world at large, the only one with an interest in saving him, for undoubtedly nefarious reasons, is All For One, who stretches out a hand to Tenko, just as All Might did for Izuku at the beginning of the story.
The parralels between our hero and villain are greatly portrayed here.
While Izuku had someone to help him down the path to be a hero, Tenko had someone to manipulate him down the path of a villain.
Tenko did not spend a long time in All For One’s care before the criminal mastermind had convinced him to kill two street thugs who he had restrained himself from killing previously after they harassed him.
This leads to All For One also convincing Tenko to wear the hands of his dead family, now dubbing him Tomura Shigaraki, Tomoura meaning mourning, and Shigaraki being All For One’s own last name.
Now remembering everything about his past, in his present fight with Redestro, Shigaraki reflects on how, in his eyes, what happened was no tragedy.
All of this leads to his awakening, as he crushes the supposed last hand of his dead family, declaring he doesn’t need it anymore, before unlocking his Quirk’s full potential, just as Gigantomachia arrives on the scene.
Redestro’s efforts in using a mecha suit to up his stress does no good, as Shigaraki unleashes a seemingly unending wave of decay in some fantastic animation that really highlights the danger he will pose going forward.
Destroying much of Deika city, Shigaraki leaves Redestro crippled, after the Meta Liberation Army commander is forced to amputate his own legs to stop the decay from killing him when his feet touched the ground.
Although this clearly has an effect on Shigaraki himself, given how his own skin cracks and his hair turns almost a glowing white.
Yet, this destruction is still enough to leave Gigantomachia in a state of shock and cause him to finally submit after seeing how Shigaraki’s liberated and terryifying strength then causes Redestro to sign over leadership of the Meta Liberation Army.
It is here where one of my issues of the episode comes in because, when Redestro submits to Shigaraki’s leadership, Shigaraki says that because he is the CEO of Deternat he must have money to give them, since the League was down on their luck before this moment.
However, because the anime adaptation cut out the beginning of the My Villain Academia Arc, including Redestro’s entire introduction, this information feels very forced and shoved in.
Oh, and Spinner also gets more of his character arc cut.
Seriously, you really have to feel bad for Spinner since this is the arc that turned him from a very forgettable character into a relatable and somewhat interesting one.
Along with this, his character arc shows Shigaraki’s growth through how Spinner starts off questioning his leadership of the League yet by the end of the storyline he is fully devoted to Shigaraki.
Cutting all of this not only makes Spinner a much weaker character, but will also make his actions in the next arc when we get Season Six mean a lot less.
But, hey, not like I expected this episode to actually give Spinner anything, given how much they cut from him before.
Other than these issues though, Tomura Shigaraki: Origin is still a great episode.
Following Redestro’s surrender, we then cut to the League and Shigaraki being touted as the new leaders of the Meta Liberation Army, now named the Paranormal Liberation Front.
Redestro is now fully devoted to Shigaraki, along with Gigantomachia, there is a funny gag about Toga’s clone, Twice’s split personality is still in place, Shigaraki has one of the dead hands left, and Dr Ujiko prepares to experiment on Shigaraki to give him an even bigger upgrade.
And all of this is happening while Izuku is definitley beginning to unlock his own Quirk’s potential, through learning how he will inherit all of the Quirk’s from the previous holders of One For All.
This should make for an interesting fight between Deku and Shigaraki when the two finally face off.
I just hope that such a fight will not get the same treatment as the My Villain Academia Arc.
While I can say that this storyline has been good in the anime, there were so many cuts and it went by so fast that it just does not have the same impact as the manga.
I just hope the next season takes the arc following this seriously because it is by far the best storyline in the entire manga, in my own personal opinion.
Despite my feelings about the My Villain Academia Arc as a whole though, I cannot deny that Studio Bones at least ended it well, with Tomura Shigaraki: Origin being a great finisher for it.