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Dated 5 January 2021: Kamisama ni Natta Hi is not a good anime

Hina and Youta
I had to include a picture of these two because they're the main characters.

Despite a promising first episode, Kamisama ni Natta Hi (The Day I Became a God) turned out to be fairly awful in a number of areas, and likely disappointed even fans of Key's usual shtick. Critically, I felt nothing when The Big Sad Thing inevitably happened. This despite reports Maeda Jun intended for it to be the saddest anime ever. Surprising no one, I'm sure, Hina suffers debilitating mental degradation just as Potato-kun comes to realize how important she has become to him. Unfortunately, the way he conveys his emotions and the actions he takes for pretty much the entire rest of the anime are aggravating to watch. It's sort of baffling, even if you're already expecting this to happen to some degree.

Kyouko
For real, though, Kyouko had excellent hair.

Ultimately, it's entirely unrewarding. I can see how at least in theory Kamisama ni Natta Hi looked like it could succeed when viewed as an outline or synopsis (you know, assuming you're okay with infantalizing love interests), but it certainly fell apart somewhere between the initial pitch and the screen. It's not all bad, though. I genuinely enjoyed the mostly standalone episode where Violet Evergarden and her father come to grips with Dead Mom Subplot. That basically had all the, uh, Key elements of Maeda Jun's bullshit done right. And I liked the Mahjong Calvinball episode which had the sort of high-energy wackiness I remember from the Angel Beats! fishing episode. The Day I Became a God did continue to have some nice gags throughout its run, although the first episode probably had the most successful jokes. I'm still willing to watch the next Key anime, but I get the feeling I'll enjoy it a lot more if its a sports comedy of some sort instead of another romance involving mentally impaired girls.

Dated 1 December 2020: Seiyuu are saving Kuma Kuma Kuma Bear and boosting Maou-jou de Oyasumi

Yuna
For real, scenes without Yuna drag.

Both Kuma Kuma Kuma Bear (The Bears Bear a Bare Kuma) and Maou-jou de Oyasumi (Sleepy Princess in the Demon Castle) are all right shows, but I might not still be following them if it weren't for the voice talents of their leads. I've noticed with Kuma Kuma Kuma Bear that my interest in the show basically evaporates whenever Yuna (the girl in the bear suit) is not the focus of a scene. I mean, the anime is fine, but not very compelling. And a significant part of Yuna's appeal is the sort of casual way Kawase Maki voices her lines. I don't think I would still be on board had Kuma Kuma Kuma Bear cast a stereotypical, squeaky anime voice instead.

Syalis
That's bad for your neck.

I was fully expecting Maoujou de Oyasumi to run out of steam by now, but it's still finding new ways to be amusing. Contributing significantly to my enjoyment is Minase Inori doing a very Minase Inori voice as the princess. For whatever reason, I don't think I'm as good as I used to be at identifying seiyuu. For example, I didn't even realize for the longest time that Kyouko from Kamisama ni Natta hi (The Day I Became a God) shared the same voice actress as Violet Evergarden. However, Minase Inori in Sleepy Princess is super obvious and fits really well.

Dated 20 October 2020: More more Autumn 2020 first impressions

Kyouko
The childhood friend has good hair.

In addition to the shows described in the first and second installments, I am also following Kamisama ni Natta hi (The Day I Became a God). I find its comic timing better than the jokes themselves, but that already makes it better than most other anime comedies. This is also a Key anime, so some sort of trauma is assured by the show's end. It's probably not for everyone, but it's one of the better offerings this season so far.

Rena
Rena seems sort of upset about something.

I only watched the first episode of the 2006 Higurashi no Naku Koro ni anime, and basically know nothing about the franchise except that it involves lots of murder and possibly time loops? However, I am willing to give 2020's Higurashi no Naku Koro ni - Gou (Higurashi: When They Cry – Gou) a try even though its first three episodes haven't especially impressed me. I'm not even sure why the Gou part of the title needed to be hidden until after the second episode. In any case, it's an excuse for more Yukino Satsuki (see also YashaHime), and I'll presumably enjoy the show more as the mystery develops.

Yuna
I still don't know why specifically a bear suit, though.

Kuma Kuma Kuma Bear (localized as The Bears Bear a Bare Kuma in English because each Kuma is written differently in the original Japanese title) is a silly show. Events within the first two episodes occurred non-chronologically, but I think that made the first episode more interesting. It's not really fursuit One Punch Man, but I at least enjoy Yuna's unconcerned reactions to fairly absurd events. Incidentally, I'm also enjoying Kawase Maki as Yayoi in Major 2nd S2, so she could be a seiyuu to watch for in the future.

Lou
Chicks love handkerchiefs.

Kimi to Boku no Saigo no Senjou, Aruiwa Sekai ga Hajimaru Seisen (Our Last Crusade or the Rise of a New World) is sort of terrible. Like, I don't even feel motivated to point out the parts it really gets wrong. I will mention, though, that it cast Amamiya Sora in the sort of dignified princess roles she was initially known for (e.g., Asseylum from Aldnoah.Zero) before everyone realized Tenchan's true calling was loudmouthed shitbag roles (like Aqua from Konosuba). I'm pretty sure I'm only giving the anime a chance because someone on the Twitter said something nice about the light novels once, but there's also a good chance I've mixed it up with a completely different title.

Dated 4 September 2017: It's Google Sheets' fault I did not blog about Kuromukuro

Yukina
I wanted to like Kuromukuro. It didn't work out.

Spreadsheets killed anime blogging. At least that's my excuse for not even having a Kuromukuro category until now. I wanted to like this show, but it turned out to be too irritating to watch. I mostly bitched about it on the IRC and probably also the Twitter when it aired in spring 2016. (I dropped it before the second cours began summer 2016.) Anyway, here is a tardy, low-effort collection of gripes for y'all to skim over.

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Dated 24 April 2017: I've already dropped 10 shows from Spring 2017

Nono and Fudou
This is not Re:Zero.

There are a lot more shows each season these days than there used to be. I'm willing to give a lot of them a try, but I'm not quite as willing to slog through something in hopes it gets more interesting later. Lest you think I'm being too negative because I dropped 10 shows before the fourth week, bear in mind I'm still watching 17. Cripes, that is a lot. No wonder I never make any progress through my sizable backlog of anime I'd like to re-watch someday.

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Dated 16 November 2014: Shirobako is fascinating

Tarou and Aoi
This fucker.

Shirobako is one of those rare shows that not only features a cast of only adult characters, but happens to (semi-seriously) focus on a workplace environment. Moreover, the work in question happens to be about anime production. In a sense, it sort of like Otaku no Video except about the daily operational minutia rather than about ambition and dreams perverted by success. Miyamori Aoi is a junior production assistant at a fictitious anime studio. Shirobako examines the stress and hardships she and her co-workers endure to meet increasingly demanding deadlines in the face of contrasting work ethics and various emergencies. The struggle between competing interests is not unlike the doujinshi production parts of Genshiken except that the experience and professionalism of the Shirobako characters contrast starkly with that of the younger Genshiken menagerie.

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Dated 1 November 2013: Hanasaku Iroha: Home Sweet Home feels like we've never left

Satsuki
Hi there, sunshine.

The Hanasaku Iroha movie, Home Sweet Home is very pleasant, but I'm not sure it really feels like a movie. It's not very long (although it doesn't feel short) and it mates so well with the episodes from the series that it feels more like an OVA than a theatrical production simply because it is not especially grandiose. (Rebuild of Evangelion, this is not.)

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Dated 22 September 2013: Mamiko is better than ever

Kaminaga
Oh. So that's why Hato is so broken.

I have been very impressed with the work of Noto Mamiko this season. She has always been one of my favorites, although I prefer her DARK MAMIKO voice to her soft Shimako types for which she is better known. I was starting to fear that she had been relegated to playing matronly characters as a step towards retirement (voluntary or otherwise). However, she blazed across Genshiken Nidaime at full boost in episode 10 as Hato's old senpai—a minor character, but a powerful one nevertheless.

Benten
She's not even afraid of lightning striking her umbrella.

More significantly, her work as Suzuki "Benten" Satomi in Uchouten Kazoku has been MAMIKORE. She's a capricious sex bomb who is too dangerous to be challenged. The presence she lends to the character is particularly pronounced considering how few other female characters there are in the show. She's quite a contrast with both the young (and predictably precocious) Kaisei and with the crossdressing tanuki mom who seems to arouse middle-aged human and tanuki males alike. Benten, though, seems capable of terrifying basically everyone with little effort. Maybe it's because she's not afraid of thunder.