Jeoffrey

Imagine being tasked with writing a fairy tale about a young witch and an evil sorceress for kids aged 8-12, but you're not particularly inspired. The result? A tale that's simple, predictable, and brimming with the most basic lessons about the power of friendship triumphing over evil. At times, viewers might find themselves scratching their heads — like pondering the origins of the evil sorceress, or questioning the necessity of certain explanations (did we really need a detailed account of the princess's relationship with her brother?). On the bright side, the animation holds up decently, and there are a few imaginative touches, like the amusement park scenes. However, the film lacks the enchantment one would expect from a story about witches and magic. Elements like game consoles and the oddly dressed Chitose (T-shirt, shorts) feel out of place amidst the traditional fairy tale setting of princesses, knights, and castles. Romance attempts fall flat, and many characters, including the protagonist, fail to charm. While it might entertain some kids for a single viewing, it didn't leave much of an impression on me. It's a passable watch once, but I doubt I'd revisit it or seek out more stories from this world. 4/10

Tell me which Fallout you like, and I'll tell you if you'll like this series! It's pretty straightforward. If you're a die-hard fan of the classic Fallout 1 and 2, and everything after that felt like a betrayal of the brand, an inexplicable genre shift, and a mishandling of the post-apocalyptic world, then this series bearing the Bethesda logo in each episode's intro might not be for you. It's likely to trigger some serious PTSD, reminding you of the demise of your beloved childhood... Now, if you're into Fallout 3, 4, or even Fallout 76 (remember when those folks were rarer than vault dwellers on the surface?), then you've struck gold. This series is a treasure trove with a million nods to your favorite games. Whether it's a dog named Dogmeat (though he made an appearance in the earlier games too), a character with the surname Howard, or familiar locations like the Red Rocket gas station and Super Duper Mart, you'll feel right at home. Even fans of Fallout New Vegas get their cowboy fix, with management and corporations as the main antagonists. But what if you haven't played any Fallout games? Well, if you have a soft spot for post-apocalyptic themes, you're likely to enjoy this series too. It's got atmosphere, a unique charisma distinct from, say, The Last of Us. It's gritty, occasionally bizarre, and sometimes cynically funny. The story is intriguing, though it takes a bit to unravel all its twists and turns. The characters are quite likable, though you might need some time to warm up to a few of them. So let's break it down - die-hard fans of Fallout 1 and 2, you might want to step aside and let it pass, maybe one star at most. Fans of Fallout 3, 4, and 76, step right up with your 5 stars. New Vegas fans might lean towards a 3 or 4-star rating. If you're new to the Fallout universe, you could end up anywhere, but with interest in the topic, it's a solid 4 stars. And for those who've seen and played it all (well, except for Fallout 76 in my case), it's a respectable 7.5/10. IT JUST WORKS!

Diving into this modern take on classic Brothers Grimm tales, you're greeted with a visually polished presentation and a solid musical score. With six diverse stories at play, each one twists and turns familiar narratives, sometimes staying true to the original essence while other times flipping established roles on their heads. It's a mixed bag where certain parts shine brighter than others. Personal preferences vary; while I probably liked Little Red Riding Hood the most and Hansel and Gretel the least, you might find yourself drawn to entirely different tales. The series offers a successful blend of creativity, delivering original and sometimes eerie interpretations. There's a medley of themes explored, drawing from both the original fairy tales and entirely new narratives. Yet, amidst this inventive mix, there's a lack of standout moments that truly linger in memory. While it's an intriguing showcase of what's possible with the Grimm Brothers' legacy, it falls short of becoming a staple in my viewing repertoire. Still, if more episodes were to emerge, I'd be willing to give them a chance. For now, it's a commendable effort but doesn't quite surpass the timeless classics. 6.9/10

This tale of a down-and-out private detective forced to delve into a uniquely eerie underworld to unravel mysterious disappearances really resonated with me. Our main protagonist is a likable fellow, and I found myself drawn to the train conductor who seems to single-handedly maintain order. However, what truly captivated me were a couple of interesting ideas woven throughout the narrative. Everything was expertly executed; whether it was the detective's journey, the discovery of the bizarre world, or the clash between two opposing organizations, each element flowed seamlessly. The story remained clear, straightforward, and brimming with various plot twists and expressive animations. Despite not boasting the most cutting-edge animation, it still managed to enchant me. I was immersed in a world I wouldn't mind revisiting, with characters whose future adventures would pique my interest. The story itself was a success, one I would gladly rewatch as it truly captured my attention. While I'm not eagerly awaiting a sequel, if one were to come about, I'd definitely tune in. A strong 3 stars, or rather 6.4/10.

Let's start with the positives - the series boasts its own unique artistic design and animation style. The camera work is commendable, featuring intriguing shots and angles, like the PoV walk on the wooden bridge. The integration of 3D models (robots) into the animated backgrounds isn't half bad. The setting of a steampunk mining town with its labyrinthine corridors and shifting shafts holds promise, although the execution falls a bit short. Additionally, the main heroine is quite likable. Now, onto the negatives - the music is bland, almost as if it's barely present. The story doesn't quite live up to its potential; it lacks sufficient exposition and character development. Consequently, moments that should be impactful, such as the story of a scientist finding a little girl or the relationship between Kagari and Yuuya, fall flat. In the end, it's a slightly better-than-average watch - worth viewing once. 5.3/10

This charming, and funny Yuru Yuri spin-off gives us a peek into the daily lives of Oomuro Sakurako and her two sisters, along with their circle of friends. It's a collection of various stories woven into a single film, each offering its own charm. Trust me, those 40 minutes will breeze by like a summer day. My favorite character surprisingly isn't one of the Ómura sisters, but Misaki whose height just isn't feeling well today and who's most definitely not afraid of the dark or rain. This feisty, competitive tsundere stole the show for me, adding a hilarious dynamic to every scene she graces. I'd happily watch an entire series centered around her, Hanako-sama, and their classmates. The animation and music are as delightful as ever, keeping true to the Yuru Yuri series' signature style. I thoroughly enjoyed it and eagerly await the sequel. 8/10

This original series starts off with an interesting character design, and it has a lot of energy. However, it quickly loses steam. The main hero's constant foolery, which is amusing at first, soon becomes tiresome and downright annoying after about 11 episodes. Then, out of the blue, he decides to change his tune, but because his character is so heavily built on his foolishness, this sudden shift doesn't really work. For me, the most intriguing character turned out to be Matakara, who was fighting more than the fists of his opponents in the story. However, even his inner struggles didn't quite resonate as deeply as I hoped. Overall, it's a bit of a letdown. While beautifully animated with great voice acting and a nice beginning, the series fails to deliver much substance. 5/10

The show delves into a world of witches, necromancers, vampires, and other supernatural beings, which is a theme I've always found captivating. However, I couldn't shake the feeling that it was constantly teasing something grander, only to leave it half-explored. While there are intriguing standalone stories, each brimming with potential, I couldn't help but wonder if they'd ever fully blossom. Characters like Phanora and Helga are introduced but then seemingly forgotten, leaving their initial presence feeling somewhat hollow and unnecessary. My main gripe with The Witch and the Beast lies in its failure to fully capitalize on its fantastic theme, despite having an engaging central duo and a willingness to embrace darker, bloodier elements. It's like there's a treasure trove of ideas, yet they're not being presented to me with the gusto they deserve. There's a sense of untapped potential that leaves the overall experience feeling interesting yet lacking, as if it's missing that extra spark to truly shine. It's frustrating to see such a promising concept fall short. As for the possibility of a continuation, I find myself torn. On one hand, I'm eager to delve deeper into the world of vampires and uncover more layers of the mysterious abyss tied to the main storyline. But on the other hand, I fear it might just be more glimpses into fascinating concepts that never fully materialize. It's like a window into the creators' rich imagination that's left half-open, teasing us with what could be but never fully delivering.  6/10

This one was a major letdown for me, probably one of the biggest disappointments from the winter season. I'm usually a fan of Studio BONES, and this was their anniversary project, so I was expecting at least a 7+/10 experience. Instead, what I got was a half-baked Blade Runner mixed with mecha suits straight out of Ultraman, and a main duo of girls who were trying way too hard to have chemistry (because Motonobu Hori gave us Carol and Tuesday), but even that fell flat. Their relationship lacked a solid foundation, leaving me wanting more in terms of their interactions and gradual development to make me believe in their feelings and trust for each other, especially during those moments when it seemed like they were just pbetraying each other. The same goes for the other nine Neans, supposedly once part of a big family with very fragile relationships that were supposed to carry the weight of the story towards the end. But building connections to characters and believing in their bonds based solely on a few flashbacks just didn't work. Take Rouge and Cyan, for example - trying to establish a deep sisterly bond in two episodes is just not realistic, and I couldn't buy into it. It feels like character development was rushed because the creators tried to cram in as many fights and classic sci-fi questions about the line between human and robot, and what free will means (basically Mars: Become Human)... but even that felt rushed. There were so many characters, so many side plots that I initially enjoyed, but they mostly turned out to be inconsequential. And the final twist, thanks to all those side plots, lost its impact. Building up the mysterious puppeteer behind it all was unnecessary because it was obvious who was under the mask from the start, especially since the story didn't provide any other viable options. And with all these layers and twists, the core of who is really behind everything falls completely flat, because the viewer is so tangled up in all the "onion layers" without proper exposition while being told that the story is still clever and delicate... It needed at least 24 episodes to fully explore and unfold everything, to allow the viewer to experience every layer of the story thoroughly and make it all meaningful. The beginning was promising, capturing that cyberpunk atmosphere perfectly. Everything seemed simple yet full of potential. Actually, the only thing I found lacking after the first episode was the underutilized music side (I was expecting some booming synths, a distinctive soundtrack, given the Blade Runner vibes). Some later episodes were decent, showing me the setting and developing characters, but it all started to feel overcrowded from around the fourth episode. It seemed like the creators weren't sure where to focus their attention, throwing too much into the pot at once, and it started to burn and fall apart. As I mentioned, the ending wasn't particularly surprising, and when it did try, the twists felt forced or had no emotional impact on me. Or they were accompanied by a line that made me want to facepalm ("The one who killed me was me!"). But okay, enough of the negativity. Let's mention some positives. Animation-wise, the series was impressive. The fight scenes were good, especially in terms of the use of colors and effects. I did manage to relate to the main duo at times, but it wasn't always easy. That's about it. Metallic Rouge was supposed to be this grand project, something I was looking forward to, something I believed Studio BONES would put effort into. But in the end, it was just a messy and half-baked series with a promising start but a dull and unimpressive finale. Rouge MIDStar - 5/10.

A series about a gamer made by gamers, for gamers! Initially, it was a dark horse of the fall season for me, an incredibly entertaining show that spoke my language as a gamer. It was clear right from the start that its creators were true video game enthusiasts, using terms like perfect parry and glass cannon build that only those who've spent time gaming would understand. The main character's unique appearance with his chosen build and acquired debuff immediately caught my attention. In fact, I was so captivated by Sunraku that I had a blue bird as my avatar for half a year. As the series progressed, it just kept getting better and better. It began revealing the local lore, showcasing crafting and other game mechanics, and I quickly found myself drawn into a world I would love to immerse myself in — a game I'd want to play myself. I enjoyed watching Sunraku on his journey, believing in his enthusiasm and dedication. While there were occasional minor flaws, I've come to expect certain quirks in Asian games—like having their own screaming Paimon (here, Emul) or another mascot (and emergency food source). The humor could be wild and childish at times, but the authors compensated with awesome action and surprisingly good animation from the C2C studio. I remember poking fun at Dragon Ball in the past, where fights lasted multiple episodes. And here, it's the same concept, but it makes perfect sense. Just like in a video game, you have boss fights that are hyped for several episodes, heroes preparing for them, and then the real deal with enemies having several different phases like in soulslike games. The fight with Wethermon lived up to expectations, fulfilling the concept of a boss fight to perfection. The episodes dedicated to him flew by, and the animation was truly showcased here — dynamic, intense, and beautifully colored. In terms of animation, Shangri-La Frontier stands strong, hitting A-tier levels just like Solo Leveling. I'm willing to forgive the animators for the minor CG slip in the penultimate episode with the crystalline scorpions. In short, Shangri-La Frontier delivered on all fronts for me. I thoroughly enjoyed this series and eagerly anticipate the next season, announced to arrive surprisingly soon — in just half a year. I can confidently recommend this series not only to anime fans but also to RPG players, especially ARPG enthusiasts. For me, it's a solid 9/10.