Hromino

I wish I could give this series a higher rating than two stars because the first few episodes had me hopeful. The story presented an engaging setting in a semi-fantastical environment (although don't expect any meditative contemplation in the air like in The Sky Crawlers). The characters, while not groundbreaking in the anime world, were portrayed well within their limitations. Unfortunately, my hopes were shattered after the fifth episode when it felt like the potential of this series vanished into thin air. By the halfway point, it became clear that the creators had lost their grip on the plot and struggled to push it forward. The fragmented narrative and intertwined plotlines were mishandled, with crucial plot twists happening seemingly in passing. The so-called "finale" occurred a few episodes before the actual end, leaving no real surprises for the audience. The conclusion lacked closure and any sense of catharsis. It's truly a shame because the creators had the potential to do so much better. The main and supporting characters were mostly likable, the setting of the story was intriguing, and the music and artwork were generally well done (though there were occasional poorly drawn faces in the background). However, all these positives felt meaningless when the story ultimately led nowhere. I find myself yearning for a more successful continuation, and I can only give it a slightly higher two-star rating.

Strike while the iron is hot – that seems to be the guiding principle embraced by the creators of Fate/Zero, the ufotable animation studio. Their aim was to adapt the original adult visual novel Fate/stay night, specifically the Unlimited Blade Works route, with a strong commitment to remaining faithful to the source material and surpassing the previous adaptations by Studio Deen. As someone who hasn't read (or played?) the original visual novel, I am unable to pass judgment on the flaws of the 2006 adaptation. I wouldn't dismiss it outright based solely on its "unfaithfulness." Now, let's delve into the adaptation I'm reviewing. While ufotable's production may boast visually stunning aesthetics and a closer adherence to the original material, it falls short in other aspects. It comes across as a weary, lackluster imitation of a show, riddled with unnecessary padding and filler that failed to captivate me as much as the Fate/Zero 2006 adaptation did. I understand the intention to address and rectify the criticisms of the rushed and crazily paced UBW movie, but in doing so, they swung to the opposite extreme, adding an absurd cliffhanger on top of it all. It appears that the creators followed the philosophy of "more is better." They elongated scenes unnecessarily and inserted filler wherever they could within their budget. It's as if they were saying, "Let's just drag it out. We'll make it work somehow. Never mind the diminishing tension and atmosphere caused by these choices." While the 2006 adaptation had its own tendency to stretch the story, ufotable took it to new heights. Furthermore, this adaptation seems to have further limited the screen time of characters other than Rin and Shirō, with Shirō becoming an even more unlikable and dependent protagonist, frequently saved by convenient plot devices. It's truly disheartening. The visuals are undeniably excellent, and the music is enjoyable, but overall, it left me feeling indifferent. Considering what lies ahead in the second season, I'll give it a weak three-star rating, though I acknowledge that objectively, it might even deserve a lower rating.

After enduring the struggles of the first season, forcing myself to watch each progressing episode, I made a solemn vow not to subject myself to the second season. Truly, I did. However, as summer approached and the initial episodes of the new season were released, I found myself swayed by the recommendations of some light novel readers who assured me that the storyline in Phantom Bullet would make it worthwhile. So, with blind optimism, I dived into the second season, hoping for a captivating narrative to unfold. And indeed, in the early episodes, there were faint hints that the story might bloom like a flower, earning my praise and living up to its potential. The story had the potential to develop into something great, and indeed it did develop, but unfortunately, it transformed into a repulsive mess, drained and devoid of substance. The plot sluggishly trudged forward at an excruciatingly slow pace, inducing fatigue and lulling me to sleep regardless of the time of day. Despite the initial attempts to create a thrilling experience, I could hardly find even a semblance of suspense or anything else that could keep me on the edge of my seat. Sinon's supposed dark past was revealed to explain her motives and actions, but instead of enhancing the story, it added to the growing heap of nonsensical elements. The absurdity per episode reached staggering levels, not to mention the numerous absurd plot twists that were introduced. Then, suddenly, the grand "resolution" of the whole "mystery" unfolded, and it was so underwhelming that I can't even recall who the main villain was supposed to be in the end. Truly, it was an epic conclusion... of disappointment. And as if all of the aforementioned wasn't enough, the SAO creators delivered yet another dose of nonsensical elements, reaching a point where it left one wondering if this "storytelling" was intended to be a torture device for the viewers. This show shattered any remaining hope and dreams I had for any future stories that would take place in ALO after the seventeenth episode. With a sense of resignation, I watched the final episode, only to realize that I had truly missed out on nothing. In fact, I had wasted precious hours of my life that could never be regained. I can only give it a feeble one-star rating, and that's solely for the decent visuals. No matter what I am not going to watch the third season of this mess.

The rumors surrounding the Inferno Cop series have been circulating within certain "otaku" circles for quite some time, touting it as the most epic anime to ever grace our screens, although the number of enthusiasts pales in comparison to the legion of Boku no Pico fans. However, unlike in Boku no Pico, Inferno Cop doesn't offer an abundance of tender, affectionate moments; instead, it revels in relentless trolling with practically every second and every frame. This explains the stark polarization in user ratings across various anime databases. What one person may criticize about Inferno Cop, another may consider a significant virtue—it all depends on whether they are on the same "trolling wavelength" as the creators. Basically, everything about Inferno Cop is over the top and absurd: the artwork and animation feature static movement of objects, characters devoid of facial expressions, and explosions rivaling those found in Michael Bay movies. The characters and voice actors add to the madness, with a pregnant woman dubbed by a man. The soundtrack includes a final theme song sung in broken, comical, and almost incomprehensible German. And last but not least, the "story"... well, you can judge for yourself just how "epic" it truly is. Personally, I'm inclined to give it a strong three-star rating because I thoroughly enjoyed this madness (and I won't miss a potential sequel, of course). It's just a shame that there were a few episodes that fell rather flat and didn't quite hit the mark in terms of quality trolling.

Can you imagine the outcome of condensing a hundred chapters of a manga series (or nearly forty episodes of the original series) into two three-quarter-length movies? A complete and utter failure, you say? Well, damn it, you're absolutely right! The people behind this remake have stripped the main plot of Rurouni Kenshin: New Kyoto Arc down to its bare bones, omitting numerous elements, making numerous changes, and even recycling some musical motifs from the original anime TV show as if they couldn't even be bothered to create a new soundtrack. On top of that, they've introduced new artwork that, while commendable in its attention to environmental details, completely screws up the character designs. None of the fights left a lasting impression on me, unlike in the TV show. I can't help but wonder who the target audience for these movies was supposed to be. Viewers unfamiliar with the manga or the original series will struggle to make sense of the story, probably only understanding that it revolves around a guy named Kenshin who wants to assist a girl searching for a master somehow connected to a certain Shishio, who is also somehow connected to Kenshin, all while they travel to Kyoto. The rest of the story and narrative would be all Greek to those viewers. On the other hand, those familiar with the manga or anime will spend most of their time facepalming in disbelief at the breakneck pace of the plot, the insensitive editing that cuts scenes short or heavily alters them (and in most cases, for the worse), and the overall incoherence of the movie. Perhaps the only major positive aspect I can point out, in comparison to the original TV show, is a more serious portrayal of the giant Fuji, whose height was greatly exaggerated in the TV adaptation. But what good does that do when we learn nothing substantial about him in these movies other than the fact that he's really tall? So, if you're interested in witnessing a more worthwhile adaptation of Kenshin's story, I recommend opting for the original TV show or the more recent trilogy of live-action movies.

This four-minute short film may not present groundbreaking ideas or an unexpected perspective, but it harmonizes exceptionally well with the song Exogenesis: Symphony Part 3 (Redemption) by Muse. Its strength lies in its ability to evoke emotions, achieved through a simplistic yet original art style that creates a pleasantly melancholic atmosphere, which might even bring a tear to your eye. Personally, I would rate it with a solid three stars, but your rating may vary depending on how deeply it resonates with you.

If the creators had established a clear premise and provided a more structured narrative for When Supernatural Battles Became Commonplace, it could have potentially stood out in the Harem genre, warranting a three-star rating. The first five episodes offer a decently comedic and relaxed show, showcasing the use of supernatural abilities. However, by the sixth episode, these supernatural elements disappear, and the season devolves into a typical harem scenario, with each main heroine vying for the protagonist's affections. The supernatural aspects are only reintroduced in the final episode, where they are awkwardly incorporated into the romantic plotline, resulting in a lackluster ending that leaves the audience questioning what really transpired throughout the series—only to realize that it was not much. Some have drawn comparisons to Love, Chunibyo & Other Delusions, and I can agree with this comparison to some extent. However, the latter successfully blends fantasy and romance while offering superior artwork and animation, which is not surprising considering it was produced by KyoAni. When Supernatural Battles Became Commonplace, on the other hand, does have slightly more likable characters, a catchy opening theme song, a stronger comedic element, and a more imaginative first half. Unfortunately, as a whole, the series fails to come together, leaving me devoid of any sense of enjoyment. The creators could have certainly done more and done it better.

I challenge anyone to argue that the second season of Psycho-Pass wasn't solely intended to generate profits and build anticipation for the upcoming full-length movie. Unfortunately, as soon as the opening credits rolled, repeating some scenes over and over, it hinted at the sad fact that the creators didn't put in enough effort to make the second season of Psycho-Pass something exceptional. The only noticeable addition compared to the first season is an increase in gore, which actually detracts from some scenes rather than adding value. The rest of the season is practically a rehash of what we've already seen, lacking significant continuity. Once again, all the investigators, including Akane, are shocked by the existence of an individual who can't be judged by the Sibyl System, once again this individual wants to abolish it, once again they have an army of henchmen, and once again innocent civilians are being murdered by them... and so on. It's as if no one learned any lessons from the first season or even acknowledged its existence. The whole anime feels like empty repetition, attempting to be deep and philosophical. Furthermore, the lack of interesting characters becomes evident; besides Akane, there's not much to discuss. Kogami hardly appears in the second season, Ginoza only has about three lines throughout, and the villain Kamui comes across as a dubious and unconvincing imitation of Makishima, which he is. If I previously stated that Makishima was "not much of a villain" in the first season, it's pretty clear what my opinion of Kamui is. Is the audio-visual experience at least worth it? Unfortunately, the change in animation studio did the series no favors. The artwork is less detailed, elaborate, and visually pleasing compared to the first season, and the animation quality has clearly suffered, to the point where one might question if this season was made before the first. After all this criticism, you might wonder why I'm giving the second season only one star less when I've essentially criticized it from start to finish. My answer is this: because my rating is relative to the first season, and despite all the flaws, there were a few moments in the second season that weren't entirely wasted; they managed to catch my attention. Hence the two-star rating.

While I was watching this series and waiting for new episodes, I found it interesting to observe the reactions of users on various anime databases and compare them with my own. While the first few episodes left many viewers ecstatic and highly impressed, I couldn't help but shake my head in disbelief at the flat characters, the "gory" scenes with barely any blood, the almost absent music, the somewhat outdated artwork, and the inevitable ecchi elements. The series had a slow pace, and the plot seemed to be moving forward while nothing much really happened. I was pretty close to calling it quits and giving it barely a one-star review; that's how fed up I was with this show. However, starting from around the tenth episode, the show suddenly started pleasantly surprising me. New, rather interesting characters were introduced, the uninteresting and useless ones were gradually eliminated, the quality of the artwork and animation improved, more gore was added, the ecchi content was toned down, and even some pieces of the soundtrack began to make an impact. It felt like the team behind Akame ga Kill! had finally realized their vision for the series: a straightforward fantasy action second-rate series with decent battles, a higher MPAA rating (though not on the level of goriness of Berserk, of course), and unpredictability when it came to the fates of the main characters (in this regard, the creators are not that different from George R.R. Martin). This turning point didn't eliminate all my reservations about the series, but suddenly I found myself eagerly watching each new episode on Sunday nights, relaxed while enjoying the well-animated, fast-paced, dynamic, and thrilling action sequences. However, the point at which many fans began condemning this anime to hell was during the final part of the series. Similar to the first Fullmetal Alchemist adaptation, the creators deviated from the manga source and presented their own ending to the story, which had an alarmingly fast pace and bore some resemblance to Battle Royale. Here, I must agree with the criticism as the finale was indeed too fast-paced, with an incredibly high number of characters dying in each episode. On the other hand, I appreciate that despite the breakneck speed, the producers managed to bring the show to a satisfying conclusion, filled with catharsis and unexpected surprises that exceeded the audience's expectations. In an era where there is a trend of open-ended endings devoid of catharsis, as if saying "let's leave it at that and see if we can get another season," this kind of satisfying conclusion was refreshing. So, although I could in good conscience give the series two stars, I will turn a blind eye in this case and give it three stars.

The eleven-episode series raises doubts about its association with Urobuchi, as it presents a simplistic mecha battles with a primitive premise, lacking the intricate themes, well-developed characters, and unexpected deaths often found in Urobuchi's works. It is only in the final episode, during its last minutes, that the distinct Urobuchi elements finally emerge, leaving me with a sense of fulfillment. Unfortunately, this revelation comes too late, as the preceding episodes were tedious and filled with unnecessary mistakes. As mentioned earlier, the show's plain and basic theme, along with its linear storyline, prompts the question: Couldn't they have expanded the narrative or introduced some plot twists? Why were only a handful of teenagers, along with a few adult Japanese characters, tasked with saving the entire Earth? Could they not have crafted more engaging characters? Instead, the characters conform to familiar archetypes: the fearless and "overly expressive" tough guy protecting a noble yet naive girl, destined to experience romantic sparks; the avenger seeking justice for a loved one's death; and the undecided character torn between joining different sides.   The abundance of action scenes, although excessive, often lacks clarity and suffers from choppy execution. The production studio attempts to generate suspense through characters mumbling orders and pleas, but this approach misses the mark. The soundtrack fails to enhance the tension, relying on recycled ideas or music reminiscent of the composer's previous works, other anime, or Hollywood action films. Hiroyuki Sawano's instrumental compositions often feel repetitive or recycled, reinforcing the notion that his strengths lie in writing for his select group of singers, as his instrumental pieces often lack originality. Despite these flaws, the series does have a few commendable aspects, such as the impressive opening theme song by Kalafina, a couple of vocal tracks from the OST, well-designed characters, captivating artwork (with the exception of occasional jarring CGI), and an intriguing ending. Out of curiosity, I may check out the beginning of the second season in January, hoping that the creators successfully build upon the ending of the first season; otherwise, I will be greatly disappointed. Update: Unfortunately, my hopes were dashed. The promising cliffhanger at the end of the first season turned out to be a mere ploy, as the first episode of the second season indicated that it would likely continue the same uninspiring and lackluster trajectory as much of the first season. Consequently, I am officially done with this show, and I give it a one-star rating. I strongly advise against watching it unless you are a fan of simplistic and uninteresting anime that features poorly developed characters in mechas trying to save the world from an alien threat.