Okay, this is getting out of hand.

This was a blatant effort to encourage anime tourism.

I starting watching Shoujo☆Kageki Revue Starlight thinking it was going to be an idol anime that would contrast nicely when watched back-to-back with Ongaku Shoujo. Yeah, that turned out to be wrong. It's not an "idol anime" at all, or at least it's less so an idol anime than it is a "wack ass giraffe fight club" anime, as I've seen it characterized on the IRC. To tell you the truth, I'm not entirely sure what to call it.

I love that Ayano has Mystic Eyes of Badminton Perception.

Impressive animation in the PV guaranteed I was going to give Hanebado! a try, despite knowing essentially nothing about badminton. Through four episodes, the animation quality remains higher than I would have expected, and the show itself continues to land solid hits on many of the sports tropes I enjoy. Notably, its star is a preternatural talent who is weighed down by a hefty load childhood drama.

There's also the matter of Rin's excellent hair.

Yuru Camp△ finished its 12-episode run last week with an open-ended conclusion to its deeply satisfying season. As far the actual narrative goes, I can't exactly claim Laid-Back Camp was particularly eventful, but the show's real strengths came from its pleasantly relaxed mood and its freakishly endearing lead character, Rin, anyway. I do like the other characters as well, though, and I'm particularly relieved Nadeshiko turned out to be a lot better than I initially feared, but Rin basically carried Yuru Camp△ for me. She did, after all, clinch the Girl of the Quarter crown in week 10 by racking up most of my Girl of the Week awards. If you place any stock in B.S. numerical ratings, I did score Yuru Camp△ in first place for most of the season before Sora yori mo Tooi Basho passed it.

"When angry count four; when very angry, swear."

There's actually one episode of Sora yori mo Tooi Basho left, but I'm all but certain to subjectively regard it as this season's best show regardless of how it actually plays out. Sora yori mo Tooi Basho (see this post for more about the show's name) is exceptionally well done. I'm particularly impressed with how it pays off the numerous little heartfelt investments it made during the course of the series. Also of note is the astute directing which has juggled comedy, drama, and even a little horror with skillful touches of emotional resonance in the right amounts and at the right times.

Mission top secret, destination unknown.

Speaking of emotional resonance, compare Sora yori mo Tooi Basho with the much hyped Violet Evergarden for example, which turned out to be a hot mess of wildly disparate levels of quality depending on the episode. I felt nearly all of them were clumsy and overwrought, with the exception of two episodes (both of which credit Sawa Shinpei as the episode director, incidentally). In particular, Sora yori mo Tooi Basho has made much better use of its music than Violet Evergarden has, as I've mentioned before. All in all, I'm very impressed with Sora yori mo Tooi Basho, and I'm looking forward to its creative team's future projects.

Actually, Violet doesn't seem to brush her hair either.

Violet Evergarden is not subtle. The animation is beautiful, even by the already high standards I've come to expect of Kyoto Animation, but it's somewhat wasted in an uneven show. After eight episodes, I don't care about any of the characters—certainly none of these personality-free men with perpetually uncombed hair. I'm willing to pretend to care about Violet as the main character, but I think I should be more involved by this point so close to the show's end. I would have less of a problem with Violet being a cipher if the show were two cours or longer. As it is, it feels as if the entire auto memory doll letter-writing bit is filler instead of ostensibly one of the main aspects of the series. Is it telling that the far-and-away best episode to date was an anime-original addition?

WHAT MAKES THE GREEN GRASS GROW?

Writing aside, Violet Evergarden also seems too intent to serve as a talent showcase. It's filled with glorious vignettes, but mostly does not work for me as a whole. In particular, I find the background music incredibly intrusive. The music itself is good, despite not being especially memorable, but the bigger problem is I don't think I should be noticing it nearly as much as I do. In any case, it takes me out of the scene entirely too often. As with most of the other problems I have with Violet Evergarden, it's good from a technical perspective, but would benefit from more restraint. Or perhaps I'm only getting distracted by these components because I'm not invested in the show itself? Probably the lack of appreciation for the plot is entirely my fault, as I'm clearly more interested in the wartime flashbacks and post-war aspects than I am in Violet's effort to understand feelings. Violet Evergarden is only just now revealing the role its titular character played in the war and how she reached the state where we found her in the first episode.

I don't know why Violet is wearing short pants.

The explanations raise a lot of additional questions that I don't expect to be addressed. For one, considering how unremarkable Violet seemed to be when she was, uh, acquired, why doesn't the army have a lot more of these emotionless child soldiers? Violet was a goddamn wrecking machine that her unit dispatched when it needed someone to ninja the shit out of the enemy. And she was the only one with the situational awareness to identify a pretty obviously vulnerable position. It just seems they could have used a lot more of her ilk. I don't think this is nitpicking, because there should be a compelling reason why Violet has such a gift for killing. If the focus of the show is supposed to be emotional discovery and recovering from loss and the horrors of war, Violet Evergarden could conceivably hit the same points by making her a regular-type scrub child solider as opposed to a Norse valkyrie holy terror.

Make a left at the fork and keep going straight. If you pass Mount Fuji, you've gone too far.

Yuru Camp△ is a blatant attempt at promoting camping and campsites. The show provides accessible instructions and guidelines to make camping attractive to neophytes and gorgeously depicts obviously real-life locations in transparent efforts to transform viewers into visitors.

Chise in the bath in episode one.

The first anime season of Mahō Tsukai no Yome (The Ancient Magus' Bride) was visually stunning from start to finish. I had some doubts the show would be able to maintain the same high standard all the way through, but I've got no complaints about the first cours. The second cours has also started in fine form, but I'm still somewhat at a loss as to whether this is a show I would recommend or not. At a minimum, Mahoutsukai no Yome offers a different sort of anime that we rarely get. Even though Chise is Japanese, she practically could have come from anywhere, since the ethnic and cultural parts of her background don't matter so much as her early personal life and hardships. The setting is ostensibly British, but it's "Magical Cotswolds as a launching point to other realms" British and not, like, "chip shops on High Street" British.

Chise in the bath in episode 12.

However, The Ancient Magus' Bride might be a little too consistent for its own good, in that there aren't a lot of dramatic highs or lows in the first half of the anime. I frankly have a difficult time imagining what the series must be like for someone who isn't already familiar with the manga. Would someone coming to the anime first be as impressed with it as I was with the manga? Rather than pursuing some objective which Chise strives toward each week, the series consists of seemingly unrelated stories that improve Chise's understanding of the magic world around her. There are occasional reminders that she'll face serious challenges ahead, but there's no corresponding sense of urgency. I have to admit it would be reasonable for viewers to simply dismiss Mahō Tsukai no Yome by saying, "It's fine, but not my sort of thing." Reasonable, but unfortunate.

I guarantee Himura Kiseki wanted to give her huge breasts.

If you're not watching Just Because!, you may at least have seen discussions about it on the Twitter, mostly about how it's apparently always on the verge of a production meltdown. Alternatively, you might also have heard about it because its character designer is the artist who provides weekly blue illustrations of buxom characters every Monday morning. Just Because! also featured in its first episode a very well done baseball sequence, a motif that reappears during the series. Really, the series is about romance, and unrequited love, and people being too chickenshit to let others know how they feel, but it's all the other parts that ensure the show works. Usually, the part about teenagers not being honest with their feelings is a pretty big red flag when you're looking for entertaining anime, but Just Because! handles these various plot lines fairly well, at least through the first six episodes.

Go on, Ena. Curse the bitch out.

The real star of the show, however, is the Photography Club girl whose photojournalism skills are on point. I'm not all that familiar with Lynn, her seiyuu (I actually thought it was Haruka De Tomaso Pantera initially), despite her numerous past roles (of which, I'm most familiar with Keijo!!!!!!!!), but she's pretty good here. It looks like Ena is going to get laid out on the teen romance smorgasbord as well, which I guess is fine as long as Just Because! remembers to retains her comic scenes and occasional griefing.