Of course she has mystic eyes.

I don't have a compelling reason to still be watching Maou Gakuin no Futekigousha: Shijou Saikyou no Maou no Shiso, Tensei shite Shison-tachi no Gakkou e Kayou II (The Misfit of Demon King Academy 2nd Season), but I also don't have a reason to stop. There's not exactly a shortage of shows about overpowered characters easily crushing those who oppose them, but I don't feel as though I watch a lot of those, and I'm pretty sure I watch even fewer where the lead is so smug about it. (Overlord fits the former, but Momonga's anxiety rules out the latter.)

Eleanor and Sasha both have good hair.

I liked the first season well enough. There were a number of twists I enjoyed, and the story focused on developing a manageable number of characters in interesting ways. Here in the second season, a lot of episodes seem to include strap hangers who are mostly just serving as an entourage following Anos (Maou-kun) around as he continues untangling the various mysteries surrounding the two thousand years he's been out of action, but it's still okay. I would personally prefer more Sasha stories, or an arc or two centered around Maou-kun's parents, but it's fine either way.

[Update: I forgot to mention Anos was re-cast between seasons.]

Space Oomfie.

As you may have noticed, I really enjoyed the first cours of Kidou Senshi Gundam: Suisei no Majo (Mobile Suit Gundam: The Witch from Mercury). I've watched so little from the Gundam franchise that I'm hazy on a lot of its common, recurring themes. Nevertheless, I at least know the depiction of death and the consequences of war are integral companions (in some way) to the cool-robot plastic-model-sales aspects.

Nika realizing how much extra work killing that guy is going to create for her.

However, I'm not well versed in terms of how Gundam presents these elements or how it communicates its perspectives about them. My assumption is that it adopts a "killing is bad" approach, but I'm willing to trust it at least has a more nuanced view than something like Sword Art Online II:

2016-01-08-18:16< Evirus> The robber had already killed one person and was about to shoot the mom, the teller, basically everyone. But sniper girl, who was like five at the time, managed to get the gun and shot the robber dead. And she was a pariah ever since, even to her mother.

ANYWAY, I don't know if this ultra-pacifist view crudely depicted in SAO II in any way accurately reflects a mainstream Japanese view, nor do I know if Gundam has anything similar. For the purpose of this blog post, I'm going go assume neither are true. That said, episode 12 of Kidou Senshi Gundam: Suisei no Majo ends with a violent death that leaves one of its leads shocked and deeply troubled.

At a minimum, Prospera is way better than Sinon's mother.

Now, the most important aspect of this character's reaction is her disbelief the person responsible for the killing could appear untroubled by the act. That is the critical focus of the scene, but the implication "all killing is bad" still looms. We'll have to wait until the second cours begins in April 2023 for more clarity on these points, but anything other than unambiguously concentrating on the mental-state aspect of the scene will appear alien to me.

I think this qualifies as an imminent threat to life or bodily harm even if he's not using the sights.

The distinction derives from my inculcation in a common American belief that using deadly force is justified in the defense of others. The legality and scope of this doctrine varies by region and jurisdiction (as do American self-defense doctrines and perspectives as a whole, for that matter), but I presume it's at least much more common in the United States than it is in Japan. I just don't know how it's portrayed in Gundam.

Lum, you have no one but yourself to blame.

Despite how long I've been at least sort of aware of Urusei Yatsura as a property that exists, I've never really known anything about it. I knew it well enough to recognize Lum, but remained ignorant about essentially every other part of it.

Service.

In fact, I'm inclined to believe anything of substance that I did know about it came from a small mention in this blog post that SDS wrote a decade ago. Consequently, I didn't really know what to make of the news that the anime was returning for 2022, with Uesaka Sumire voicing Lum, no less.

The first time I saw this gag was in Love Hina, but I guess this must have come earlier.

Having watched the first episode now, the series seems sort of anachronistic. I don't mean that it's dated, but it does very much feel like a product of a different time. This is hardly surprising, considering the original manga began in 1978 and ended in 1987. The whole thing predates Heisei, let alone Reiwa. I don't know if the new anime is remaining true to the source material, but it feels as if it is, at least based on my aforementioned impressions that it's from a different time.

Y'know, your two species probably can't procreate together.

Thus, it's not clear to me who is actually watching the new Urusei Yatsura. Is it aimed at new fans who are unfamiliar with the original? Or is it for older fans who loved the original manga and/or the 1981 anime and are eager to recapture some of that ol' Showa magic? When it comes to nostalgia, I tend to believe fans are often better off not revisiting things they loved in their youth—at least without being emotionally prepared to confront the reality that can often sour the experience.

Land lines! Rotary phones!

It's not at all uncommon to discover that cartoons we loved as children were, in fact, really not all that good. This is not to say that Urusei Yatsura 2022 will produce the same sort of reactions. Hell, maybe it's better than ever. I haven't seen a lot of impressions of the first episode—good or bad—but probably that's just because I'm not adjacent to the sort of audiences that will either enthusiastically embrace (or violently reject) the new Urusei Yatsura anime.

That's some nice shootin', Rock.

I sure have watched a lot of Black Rock Shooter for someone who claims not to care about Black Rock Shooter at all. I'm not even confident my understanding about Black Rock Shooter in general is even accurate. As far as I know, it is a Hatsune Miku song that was turned into a sort of popular music video, then an OVA, then a 2012 anime written by Okada Mari, and now Black★★Rock Shooter: DAWN FALL. I don't even know if Dawn Fall shares continuity with anything that came prior.

It would have been better if the human characters didn't wear these masks all the time.

What I do know is that Black★★Rock Shooter: DAWN FALL was 12 episodes of a grimdark future where there is only war. Well, war and rape. I don't mean this in a metaphorical sense, and I can see why you might think that considering a lot of what happens in the 2012 Black Rock Shooter was allegorical. No, I'm letting you know that a significant plotline in the 2022 anime involves young girls being raped literally to death.

Is it better or worse that the rapist is a big freaky robot with limited emotional range?

So, is Black★★Rock Shooter: DAWN FALL actually good? Well, mostly not? I don't know if it's better for people who have strong attachments to the franchise. I can't claim I do, although I recognize Dead Master and Strength as characters who were present in previous Black Rock Shooter installments—that sort of thing. And I'm not fundamentally opposed to a series introducing characters, trying to make us care about them, and then having something terrible happen to them. I don't think I'm in favor of sadism, but I can appreciate that a show like this can still exist, and even be associated with an IP people presumably still value. Also, learning this was licensed by Disney was wild.

Have sword, will travel.

I do appreciate that Cutie Honey Universe exists at all. It's been a good year with regard to the return of old (way old) classics. I'm not particularly familiar with the Cutie Honey franchise, but I've seen enough of the original 1973 Cutie Honey anime and Gainax's Re: Cutie Honey OVAs from 2004 to appreciate that Cutie Honey Universe is a faithful re-introduction of the show to modern anime fans. However, although I enjoy it, I suspect that the return of Cutie Honey might work better in theory than it does in practice for general audiences. I don't feel that Cutie Honey Universe is dated, but it does seem anachronistic. That does contribute to its charm, but I can't help but think I should at least finish watching the 1973 series first.

Tarantula Panther, best tarantula, best panther.

The parts that are probably the most jarring to modern viewers are the occasional fan service gags involving Junpei (the little boy) and Danbei (the dirty old man) as they aggressively pursue perverted opportunities to ogle and grope Honey whenever possible. I hesitate to call them gags because they're not presented as if they're supposed to be comedic moments necessarily, but I can't quite call it fan service either because I'm not sure anyone considers the bits titillating. It's probably more accurate to call them tropes or callbacks to the original Go Nagai manga and anime series. Now, I'm not suggesting '70s fan service staples have no place in our upstanding world of the current generation, but I think I would appreciate an effort to present these blatantly gratuitous scenes in creative new ways instead, despite the risk of alienating those fans who insist on preserving original aspects as a matter of general principle.

Literally the only costume in this series I recognized.

I've heard Infini-T Force compared to the CG cut scenes in a video game, and I suppose it does have that quality to it, but I am a total sucker for crossovers, so here I am. It would actually help a great deal if I had any idea who any of these characters were aside from Ken from Science Ninja Team Gatchaman and Casshern from...whatever it is Casshern is from. Casshern I only know of—not know about. The rest of the characters? I have no idea. I understand that I'm supposed to recognize them, because they are all anime heroes with cultural and historical import. But, c'mon, it was a long time ago, okay.

I do like the polka-dot dresses Emi's school uses for uniforms

Through four episodes, the show is all right, with a suitable amount of action and CGI mugging by the various heroes slumming with a poor little rich girl. Speaking of which, I don't believe Emi has any corresponding analogue in any of the heroes' original shows (and it seems the villains might not either). I'm not fully convinced she has a good reason to be so nihilistic (basically suicidal, really), but I do like she caused the MacGuffin to take the form of a giant novelty pencil. I also like that she calls Ken ossan even though he's probably, like, 25, tops. (He was a teenager in the original Gatchaman anime.) I do hope more characters show up for additional crossover shenanigans, but that seems less and less likely the more they talk about all the original worlds being destroyed. It sure seems they ought to be more distraught at the death of billions, but at least Emi's house is really warm and contains plenty of avocados. Plus their host is very aerodynamic. You gotta focus on the positive side.

Ami's hair is probably shorter due to a bad breakup.

With nearly a full cour of The IDOLM@STER TV completed, I've decided to revise my iM@S baseball lineup. The most important change is Yukiho is no longer a narcoleptic like she was in Xenoglossia, but rather a cringing, terrified girl. If you think I'm starting someone like that on the mound, you're crazy. Yukiho rides the pine and possibly pinch runs. Cowards can run fast.

No pressure, Kotori.

Thankfully, we now have Kotori on the roster. Kotori is my new pitcher, and hopefully she and Ritsuko work together well enough to form an effective battery. I also hereby reaffirm my decision to name Miki as the relief pitcher. She's made a habit of coming to the rescue in the current series, so I'm confident she can put out fires and pull the 765PROs out of trouble if Kotori gets into a jam.

Hibiki and Takane join the team.

I also reaffirm my decision to place Mami and Ami in the middle infield. I'm pleased they are no longer shrimpy kids. Although they aren't exactly freakish giants, they are a lot taller than I expected. I'm staying with Mami at shortstop and Ami at second base because I'm hoping Mami's side-tail will stabilize her head as she pivots while throwing to second or first. [Update¹.] I've also decided that Mami > Ami because she has better hair and because she sort of holds underdog status now that Ami's popularity is ascendant as part of Ryuuguu Komachi.

Sit your ass down, Yayoi. You're dead weight.

The inclusion of Hibiki and Takane also means I no longer have to start Yayoi in right. Iori moves from left field to right field, and Hibiki takes left field while batting in Yayoi's old spot in the lineup. Takane goes into the bullpen as a relief pitcher. She'll mostly be in the set-up role with Miki as the closer, although all three will start if games are frequent enough to require a rotation.

Producer also does not look like Tommy Lasorda.

The IDOLM@STER TV has been mostly positive with regard to refining the iM@S baseball team, but there is one downside: We now know Producer looks nothing at all like Earl Weaver. No one is more disappointed than I.

[Note 1: Now that I think about it, a long sidetail on her left could easily get in Mami's field of vision as she pivots, but hopefully it won't matter under a baseball cap. If it turns out to be a problem, I may need to go with the dangerous hair-down Mami or swap her and Ami's fielding positions.]

29:09:10< Seem> Evirus you're apparantly going to need to pick a new favourite Strike Witch, Saeko Chiba is being replaced with a different VA for season 2

That is some straight dog shit right there.