You can't tell from a still, but Mordred has, like, mecha armor.

Experts predict that at the current rate of growth, all anime will be Fate/stay night by 2062. There is, shall we say, at lot of Fate anime. Besides the first television series in 2006, there is the Unlimited Blade Works movie from 2010, the Fate/Zero anime from 2011-12, the Unlimited Blade Works series from 2014-15, the Fate/Grand Order: First Order movie from 2016, and Fate/Extra coming in 2018. This doesn't even count Carnival Phantasm or anything else I might have overlooked. One does not explicitly need to watch all the other Fate/stay night properties in order to watch Fate/Apocrypha, but I think it's sort of expected a fan will make at least a token effort before attempting a 25-episode Netflix binge once it becomes available.

The face of a Best Girl trapped in a harem comedy with a loathsome protagonist.

Despite some very questionable components, I liked the first season of Saekano a decent amount. Unfortunately, its Saenai Heroine no Sodate-kata♭ sequel (How to Raise a Boring Girlfriend Flat) isn't working for me. All of the problems I have with the show were present during the first season, but either the execution was better or I was simply more willing to accept its shortcomings, something I acknowledged when I blogged about it. Ultimately, it's Potato-kun being a shitbag and the show's proselytization of the Otaku Virtues that kill my enthusiasm for Saekano Flat. These are the sort of bits that can sort of work from a meta perspective when lightly used, but the heavier a show relies on these tropes, the less meta it feels and the more bona fide it becomes. And then you just end up with regular ol' tsundere bullshit and a harem comedy gravity well which pulls inversely proportional to its hold on reality.

I bet those boxes are empty.

What I'm left with is loathing for Potato-kun and open disdain for every other character on the show with the sole exception of Megumi, who has rocketed so far ahead in the show's Best Girl standings that she can almost assuredly boat race the rest of the competition from here on out. And this is nearly entirely a consequence of her (thus far, through six episodes and one pool-romp prologue) refusal to go along with Tomoya's high-intensity idiocy. That said, I'm still not quite as hostile to the show as these couple of paragraphs might suggest, so it's not as if I intend to drop it. I'm just disappointed Saekano Flat keeps tumbling into avoidable pitfalls. The show is unworthy of its animation and its Misaki Kurehito superlovely character designs. I guess it does deserve the glare of displeased long-hair Megumi, though.

Dude sure loves gears.

I started using The Cosmopolitan Prayers more than 10 years ago as a metric to measure the lower limits of tolerably bad anime. Long-time readers will recognize the familiar invective, "WORSE THAN COSPRAYERS" which started out somewhat facetiously, but evolved to become a standard I've applied regularly where appropriate, albeit usually for shows I've quit watching. Through the first third or so of the current season, I'm somehow still watching the following three shows which fall below the Cosprayers Line of dubious quality: Masamune-kun no Revenge, Seiren, and Hand Shakers.

Dude has really long fingers.

No, not the teacher who is a succubus. She's just another Christmas cake virgin, same as practically all female teachers in anime. (P.S. Spoilers.) I'm referring to the male teacher, who is perhaps the rarest of anime creatures: The adult male lead in a harem comedy. Or, more specifically, he is an adult male anime character who behaves like a goddamn grown-up despite being the lead in a harem comedy.

Well, at least he can keep it together when people are watching.

Demi-chan wa Kataritai (Demi-chan Wants to Speak, localized as Interview with Monster Girls) certainly is a harem comedy. After only three episodes, one character has already openly expressed her affection for Tetsuo (a biology teacher in his early thirties), a second character stated the same privately, a third character just isn't being up-front about it, and the fourth simply hasn't been properly introduced yet. Nevertheless, he's sincere when he claims his interest in his non-human students and co-worker is purely academic, and calmly interacts with them without any of the usual carrying on you get in harem comedies. This is a sharp contrast to, say, Potato-kun in Seiren who is insufferably spastic as he struggles with his adherence to the Otaku Virtues. (It turns out Seiren is...not a good show.)

Please don't name your snow daughters Yuki.

Nevertheless, Demi-chan is still a harem comedy, and it's pretty clear the teenage vampire, dullahan, and "snow woman," as well as the adult succubus all (or eventually will) pursue Mr. Takahashi as a romantic love interest. This has caused some viewers to express (at least on the Twitter) a bit of discomfort and/or displeasure with the direction the show is taking, even though it's all but assured there will be zero development on any of these routes. C'mon, it ain't that sort of show, okay. Nobody is going to bend Kyouko over a kotatsu while her head is in a different room.

This is not the Koi Dance.

There is one additional thing: It seems some viewers feel inspired to critique the show from a considerably more "woke" perspective than I use, but I think this tendency also results in the adoption of a perversely opposite position from what was perhaps intended. In particular, I've seen a few people discuss Kyouko, the dullahan, as a disabled character. To me, it is openly racist to presume dullahans are presumptively inadequate or compromised compared to humans. Treating dullahans as dullahans instead of as "disabled" humans is the difference between treating ajin as minorities instead of treating them as "abnormals," in my book, even if you're using the politically correct term "demi" instead.

Nice hat.

Saenai Heroine no Sodatekata (Saekano: How to Raise a Boring Girlfriend) is an anime adaptation of an ongoing series of light novels about a group of high school kids developing a visual novel game for Comiket. It's a harem comedy and relies heavily on tropes and common character archetypes. Tomoya is an unapologetic otaku clad in birth-control glasses. His tsundere childhood friend is hopelessly in love with him, but naturally he's completely oblivious. Since she is in a harem comedy, Eriri has plenty of competition from more aerodynamic rivals who offer Potato-kun the green light early and often. Really, the only reason the "YES" embroidery on his bedroom pillow isn't completely worn down is due to the preservative powers of the Otaku Virtues. The damn shit's better than Woolite.

On the plus side, Kakuma Ai sounds pretty good as Julis-Alexia von Riessfelt.

Conveniently, there are two shows this season with similar premises and comparable first episodes. Both feature high school boys who meet half-naked tsundere pink-haired girls and duel them for unnecessary reasons putatively related to their magic school's magic business. The first of these, Gakusen Toshi Asterisk (The Asterisk War: The Academy City on the Water) aired first to, well, not acclaim, but at least without outrage. It looks suitably pretty with shiny cityscapes and bright colors sort of similar to the Toaru Majutsu no Index and Toaru Kagaku no Railgun bullshit academy cities. The second show, for reasons I'm too weary to pursue, has a number of different titles. It's sometimes known as Rakudai Kishi no Eiyuutan, Rakudai Kishi no Cavalry, Chivalry of a Failed Knight, or alternatively A Tale of Worst One. Yeah, I'm just gonna use Asterisk and Cavalry respectively.

This is how Rinko sees Takeo all the time.

For years I've lamented the lack of anime romances wherein couples get together early on and spend the rest of the series developing their relationship. Typically, an anime "romance" will either be about unrequited love in the form of tsundere bullshit, or (more commonly) simply not commit at all. There is the occasional Kare Kano, but such shows are quite rare. Amazingly, the spring 2015 anime season gave us Ore Monogatari!!, a show which basically does everything I wished for all these years. And yet, perhaps predictably, it's still a little unsatisfying.

Maria's orbs are huge.

Junketsu no Maria (Maria the Virgin Witch) is quite different from what I was expecting. It's turning out to be semi-serious fare with actual stories and sub-plots about different factions involved in Maria's little war instead of a lurid fan service comedy. (Maria does seem to spend a lot of time on screen being very blonde, very aerodynamic, and mostly nude, though.) Thankfully, her hatred of war and entirely emotional approach to it, though idealistic and childish, manages to not annoy the shit out of me like the other occasions when obtuse anime pacifists carry on about some sort of nonsense or other. Oh, hi, Cagalli. I didn't see you standing there.

Somehow not a potato.

The witch part of Maria the Virgin Witch is interesting enough, I suppose, except that none of them appear to be evil. I guess from the point of view of the show's religious leaders, many of the witches are bad—oh, so bad—but from a modern anime viewer's perspective, I have to say they're pretty good. Especially the Noto Mamiko witch. The virgin part hasn't gotten annoying yet either. Where it goes from here will depend on how it handles its "Stop Using Sex as a Weapon" plot. Like My-Otome, nearly 10 years ago before it, characters in Maria the Virgin Witch have figured out that you can rape away an uppity girl's magic powers. (P.S. Spoilers.) I get the feeling Junketsu no Maria won't simply shrug this off the way My-Otome did, but I hope it also doesn't suddenly turn into a morality play about the Otaku Virtues.