Counterpoint: I always enjoy Nezuko kicking deadbeats.

I've enjoyed the Kimetsu no Yaiba (Demon Slayer) anime for most of its run, but I've certainly not been a fan of all of it. In particular, I only have so much patience of the shounen jive that's just part of the territory when it comes to these sorts of shows. People who actually like shounen anime and manga may appreciate those tropes and styles, but I could do without a lot of it. However, with regard to the current Katanakaji no Sato-hen (Swordsmith Village Arc) season, the actual problem is my disinterest in Tanjiro as a character. I mean, he's fine, but I mostly liked him before because he wasn't Zenitsu or Inosuke. He might not have the charisma to carry this season alone.

Wait, he has a gun. Are demon slayers allowed to use guns instead of swords?

This wouldn't be an issue if the other characters in Kimetsu no Yaiba: Katanakaji no Sato-hen had more going for them. So far, I don't give two shits about the swordsmiths, and the other demon slayers don't seem to have personalities at all, aside from just sort of being assholes in general, even if they're not especially malicious about it. And I guess unless you count Yelling as a personality. They've got that going for them, too, but that's true of a lot of Demon Slayer characters it general. (Specifically, WAY TOO MANY of them.) Honestly—and I say this with utmost sincerity—I'm praying for a lot of scenes with the weird-looking Hanakana-voiced girl with the fucked-up hair.

No pressure.

I don't know what her deal is, but the OP and ED to these Swordsmith Village Arc episodes clearly indicate Mitsuri is one of the three main focus characters. Through the first three episodes, she has done absolutely fuck all, but now that The Fighting has begun, I expect she'll start getting more scenes. Just to be clear, I'm rolling the dice here. All of my previous impressions of this character throughout her various appearances in the series thus far have been mostly negative, but Demon Slayer this season doesn't seem to have a lot going for it, so I'm hoping she'll save the show. She can still be weird. In fact, probably the weirder the better.

She's so happy to see him.

I don't think I would normally watch Tsundere Akuyaku Reijou Liselotte to Jikkyou no Endou-kun to Kaisetsu no Kobayashi-san (Endo and Kobayashi Live! The Latest on Tsundere Villainess Lieselotte), but here we are. It's all right. Through four episodes, I would not exactly call it a must-watch anime, but I appreciate it at least features an original idea. Well, original enough that I don't recall having encountered anything quite like it before. The basic premise involves a couple of classmates who discover that a character in a video game is able to hear and respond to their voices. Instead of examining this phenomenon to better understand the scientific, theological, psychological, or mystical implications, they use this ability to shape the video game's story in hopes of preventing a beloved character's death.

These two spend a lot of time alone together.

The titular Endou and Kobayashi from Tsundere Akuyaku Reijou Liselotte to Jikkyou no Endou-kun to Kaisetsu no Kobayashi-san do so well by the second episode that it seems all but certain some crazy plot twists must await me. Indeed, the fourth episode ends on a cliffhanger, and there's at least one likely antagonist who has made only occasional brief cryptic cameos thus far. I'm not really expecting much from this series, but I presume there will be some light romance that doesn't advance very far between the two players as they try to maneuver the video game prince into position to bend his betrothed over a, well, not a kotatsu—that would be an anachronism, but perhaps over some suitably fancy and exorbitantly expensive piece of antique furniture, thereby unlocking a sex scene the incorporates at least one desu wa during Lieselotte's throes of passion. It could happen.

If you were really pulling on her arms, those gloves would slip off and she would escape.

First of all, I don't even know if anyone is actually referring to Akuyaku Reijou nano de Last Boss wo Kattemimashita (I'm the Villainess so I'm Taming the Final Boss) as Akulas. Hell, probably as many viewers thought of Otome Game no Hametsu Flag Shika Nai Akuyaku Reijō ni Tensei Shiteshimatta... (My Next Life as a Villainess: All Routes Lead to Doom!) as either Hamehura or Hamefura as they did Bakarina. These light novel titles are an absolute nightmare.

Lilia seems really boring and irrelevant, so I'm expecting some huge twist later.

ANYWAY, Akulas, like Bakarina, is an isekai about a girl who reincarnates as a villainess character from a video game that she's been playing. The series is about her efforts to avoid the unfortunate fate that she remembers her character ultimately suffering in the game. Then something-something "the friends we made along the way."

You can tell he's supposed to be the evil one because of the way he's dressed.

Consequently, comparisons between Akulas and Bakarina are natural, although the two series don't appear to have much else in common, at least not through the first three episodes of Akuyaku Reijou nano de Last Boss wo Kattemimashita. As far as differences go, the Akulas lead is trying to team up with the game world's end boss (who inadvertently kills her character in the game), whereas Bakarina herself concentrates primarily on reversing her inherited character's reputation for being a cunt.

Way to fuck it up, you stupid asshole. Now you're left with nothing. Nothing!
Nothing except for your wealth, power, and the girl who you wanted to marry.

Notably, Aileen from I'm the Villainess so I'm Taming the Final Boss seems much more intelligent than Catarina from My Next Life as a Villainess: All Routes Lead to Doom! who—bless her heart—is dumb as all Hell. As far as the shows themselves go, I watched two seasons of Bakarina, and still like it enough that I guess I would still watch more. Thanks to its early start, I'm already a quarter of the way through Akulas. It seems all right, but I'm not especially interested in it. I don't really have any complaints about the series; it's just not my thing. But maybe Lilia will stab someone in the neck later.

The Dark Realm might not have been a meritocracy.

I probably would not have started watching Jahy-sama wa Kujikenai! (The Great Jahy Will Not Be Defeated!) if there had been more shows to watch this season. The best thing it seemed to have going for it was some speculation prior to its start that it would be controversial in certain circles for reasons I did not explore (but which I assume are probably related to the titular character's pantsless child form). However, after three episodes, it does not appear as if anyone gives a shit about this—at least not enough to attack it.

At least her labor is being exploited now.

As far as its qualities go, entertainment-wise, Jahy-sama wa Kujikenai! is just okay at best. None of its jokes land for me. It certainly would not be my first recommendation to anyone looking for a series with this sort of setup. Y'all would be much better off watching Machikado Mazoku or Hataraku Maou-sama! or Gabriel DropOut instead. Even with not much else to watch this season, I'm still going to drop it if the reappearance of the mahou shoujo who wrecked Jahy's kingdom doesn't improve things significantly. So far, she's had zero lines and only a few seconds of screen time, but her school-uniform alter ego is in the ED experiencing various misfortunes. I do appreciate me some unrighteous misfortune.

They're not flirting.

I started the Spring 2021 season with an entry covering both Koi to Yobu ni wa Kimochi Warui (It's Disgusting to Call This Love or KoiKimo) and Hige wo Soru. Soshite Joshikousei wo Hirou. (I Shaved. Then I Brought a High School Girl Home. or HigeHiro), so I guess I should have a post wrapping them up as well. I found KoiKimo to be a better series, perhaps because of its straightforward story. It also helps that KoiKimo leaves Ichika in control of her fate. It is ultimately Ichika's decision whether her relationship with Ryo will advance or not.

Platonic head pat.

Sayu does not have this luxury in HigeHiro. Maybe it's disingenuous to claim HigeHiro is about Yoshida "looking for something attractive to save" (my apologies to Liz Phair), but replace Yoshida's name here with "the audience's surrogate," and maybe it's not far off the mark. KoiKimo and HigeHiro both ended up where I expected, but Sayu had much less say over the path she took to get there.

Making the end credits look more like the manga art was a nice touch.

In contrast, KoiKimo is an honest romance. There is no real mystery whether Ichika and Ryo will actually end up together or not, even though KoiKimo does introduce rival love interests for both leads. Moreover, the rivals are genuinely more sensible partners from every objective metric. However, the most obvioius impediment—the age gap between Ichika and Ryo—is never depicted as a meaningful obstacle. When it is finally viewed as a problem, its solution is entirely unsurprising.

Platonic head pat.

The solutions to the challenges presented in HigeHiro are also fairly obvious, but the series insists on pantomiming a number of unconvincing feints. They're unconvincing because Sayu basically has no flaws, and Yoshida clearly feels something for her. He never has a reason to turn her away, and Sayu's rivals for Yoshida's attention are dubious love interests who quickly end up supporting Sayu anyway.

Relax, Sayu. Wonder Eggs are only 500 yen each.

In fact, Sayu's true adversaries are her lack of self-worth, her family's disinterest in her welfare, and the story's insistence at making Yoshida obtuse. Yoshida's behavior is baffling in HigeHiro, and not just because he denies being attracted to the sexually available high school girl living with him. Yoshida's behavior is baffling because he's willing to accept immediately on faith that Sayu would be better off returning to her home, without ever examining even the slightest bit the reasons why she ran away in the first place. It seems irresponsible to not at least contemplate the myriad awful situations that potentially compel teenagers to leave home and offer sex to strangers just to survive.

HigeHiro showed Sayu orgasming on screen.

Of course, the real reason Yoshida never asks is because the story can't let him or the audience know before the narrative is ready. It turns out the unpleasant situation Sayu fled wasn't that bad, but that's the case only because HigeHiro insists on rehabilitating its antagonists immedately after introducing them. This sort of cowardice is a significant weakness of HigeHiro, as it makes its conflicts fairly hollow. The challenges presented in KoiKimo are not intractable either, but at least they don't take on a fraudulent quality.

Ichika grew accustomed Ryo's nightly calls without realizing it.

KoiKimo succeeded by being forthright about its romance and committing to it unapologetically. In contrast, HigeHiro (like Yoshida himself) spends basically the entire series maintaining an unconvincing veneer of plausible deniability over whether or not Sayu is an actual love interest. At the risk of attracting accusations of being in favor of age-inappropriate pairings, I'm going to suggest HigeHiro does this to its detriment.

They had to put him in a chair watching her sleep
so people wouldn't insist they still fucked.

I suppose I can't speak for its source material, but the anime most certainly portrays Sayu as an eligible partner. Does HigeHiro provide Sayu with agency by having her test Yoshida's resolve each time she propositions him? Or does the series undermine Sayu's agency by presenting these moments solely so Yoshida can continue to rebuff her and showcase his unflagging integrity? I'm not answering this rhetorical, but I think we all know.

He had it coming.

Some of the shows I covered in previous posts (1st, 2nd, 3rd) included remakes and sequels or continuations. Well, there are more. Golden Kamuy also resumed this season. It's described as the third season, but really it's just the third cours of series. The anime remains as good as ever, thanks to the strength of the source material. In fact, the anime has improved by thus far avoiding the 3DCG pitfalls that unfortunately distracted from the first cours.

Daigo is short.

Major 2nd S2 remains consistently good as anyone who has ever followed the franchise would expect. The current arc again revisits events from the first season of Major 2nd, but it should still be accessible to new viewers. Well, they can be new to Major, but it probably helps to know at least a little about baseball. At a minimum, it will reinforce how relatively lucky the new girl has been so far despite making a lot of basic mistakes.

This is not actually a room.

One Room is also back for a third season. It's first-person-anime gimmick seems a bit lewder this time around than I remember from the previous installments. However, it's still fairly tame even though the first girl found an excuse to whip off her clothes by the second episode. I guess since the characters only gets three episodes for each arc they have to make the best of their opportunities.

Strike Witches is still Miyafuji's show.

Going the other way, Strike Witches: Dai-501 Tougou Sentou Koukuudan ROAD to BERLIN (the third "proper" season of Strike Witches) is definitely less lewd now compared to how it started out. The first season of Strike Witches featured uncensored casual nudity on a fairly regular basis. This season started with an appearance by Sakamoto Mio wearing pants, of all things. PANTS!

2D & 3DCG integration during the all-signing, all-dancing parts finally look right.

A new anime season is upon us again. Every quarter, I assess which shows I expect to watch during the upcoming season and add them to my animetrics table. However what actually seems to happen is that I just watch whatever comes out first, providing it's not shounen jive or something that looks super bad. In the past, I would write up a comprehensive post that summarizes every show that I sampled, but those days are long gone now.

Are you Best Girl? You sort of seem like you might be Best Girl.

What I can do, though, is draw your attention to a few of the bright spots from this first batch. Unexpectedly, the launch of a new Love Live installment caught me by surprise. I knew one was in the works, but somehow missed that it was starting in October. I don't actually regard myself as a Love Live fan, but I have seen all of it and I guess I'm going to watch Love Live! Nijigasaki Gakuen School Idol Doukoukai (Love Live! Nijigasaki High School Idol Club) too. The first episode was about what I would have expected from a new Love Live spinoff, but I can at least identify three highlights: (1) The somen joke was genuinely amusing. (2) The character who I expected to suffer from debilitating shyness seems to merely be kuudere. (3) The aggravated red-eyed girl at the end made faces I enjoyed.

Flan has a better hat, but she's been a witch longer than Elaina.

Majo no Tabitabi (Wandering Witch: The Journey of Elaina) had the best first episode of the shows I sampled. [Update: I wrote this before I watched Munou na Nana (Talentless Nana), the new champ. It's worth checking out, but I suggest going in blind to avoid spoilers.] The visuals look fantastic, and the episode itself did not go the way I expected, so I'm hopeful that the rest of the show will continue to remain interesting. I also like witches and big hats, and this show had witches AND big hats, so that's a bonus.

I don't think it's actually Claudia's fault everyone keeps dying.

Finally (for now), I'm going to mention that Senyoku no Sigrdrifa (Warlords of Sigrdrifa) has airplanes and tolerable lore. The dogfights are nice (albeit with handwaved physics), but they are not as spectacular as in The Magnificient KOTOBUKI. (Admittedly, that's a really high bar.) One serious potential problem is they're basically fighting the Neuroi from Strike Witches. Those types of adversaries are basically never interesting, so this could be a liability for Sigrdrifa too. One thing I am curious about, though, is why the anime appeared to cast Kayano Ai and Horie Yui in what seemed like unimportant bit parts. I can't tell if there's no meaning to it, or if it reveals these characters will actually take on much greater importance as the show develops. I guess I'm going to have to stick around to find out.

This is not an enthusiasm comparison chart.

The second season of Major 2nd went on hiatus after episode seven in the spring, but has resumed production for the summer anime season. It's not clear to me how long the show will run, but I'm hoping the Major franchise remains popular enough that we'll get at least a few more cours out of it. Having a mostly female cast and (so far) no sudden tragedies are departure from the norm, but not ones that have hurt the series at all.

This is a baseball thing, not a Covid thing.

The first season of Major 2nd already established that Daigo's story was going to be significantly different from Goro's in that Daigo's talent for the sport has been entirely unremarkable, and certainly so compared to Goro's freakish abilities. However, through 10 episodes of the second season, Daigo has effectively applied the lessons he's learned as he finesses the new leadership role that was thrust upon him.

The teacher isn't giving signs. She got bonked on the head by a foul ball while napping.

Daigo's middle school team of mostly girls is doing well, but they're by no means assured of victory in these contests. All of them are talented to some degree, but there a few areas that could use significant improvement. Even some fundamentals are shaky at times. I'm hoping Major 2nd Season 2 continues running long enough for the team to come together, because it's not going to happen overnight. I am optimistic for an extended run, though. A new OP is scheduled to drop 22 August, coinciding with the return of Horie Yui's character from the first season. Hell yeah.