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Dated 8 October 2019: Araburu Kisetsu no Otomedomo yo。 was the best show of the Summer 2019 anime season

Sugawara
Lewd.

I suppose I need to set aside my anti-Okada bias now that I've enjoyed one of her melodramas so much. As far as sex disasters go, Araburu Kisetsu no Otomedomo yo。 was honestly a little light on the sex and not as traumatic in the disaster department as I would have liked, but O Maidens in Your Savage Season did have the courage to do a lot of things that I don't think an Okada-free show would have attempted. Framed in the sense that tragedies end in murder while comedies end in marriage. I was optimistically hoping Araoto would turn out to be a tragedy, but I still liked it quite a bit even though it turned out to be a comedy.

Sonezaki
Relax, it's only lust.

Not that there wasn't tragic stuff in it, but we're talking emotional-trauma tragic, not murder-suicide tragic. I do wish Araburu Kisetsu no Otomedomo yo。 had not gone quite so easy on the arcs that had the best opportunities for going really poorly for everyone involved, but I acknowledge this is a sadistic perspective. Besides, fully exploring some of the paths that its characters could have taken would have changed the tone of the show dramatically. Probably I still would have been entertained, but I appreciate that many viewers would not have been as accepting. Still, I don't think it's entirely unreasonable to hope an Okada Mari sex disaster would end with a murder instead of a marriage. I'm just sayin'.

Dated 1 October 2019: I wish Cop Craft looked as good as Demon Slayer: Kimetsu no Yaiba

Tilarna
Literally a still frame with a voice over.

Cop Craft and Kimetsu no Yaiba (Demon Slayer) didn't really have much in common aside from airing during the same season. As far as their respective stories went, I was more interested in Cop Craft than in Kimetsu no Yaiba, but there is no question the latter was a better show. This despite the fact that Zenitsu (that panicky orange-haired fucker who shouted all his lines) was annoying as all Hell. Frankly, overcoming that is a testament to how good ufotable can be. Kimetsu no Yaiba looked amazing. It's hard to believe some of its sequences were even possible in a TV anime. Conversely, Cop Craft very much looked like television anime, and one that was constantly pressured to meet timelines. Nearly all of its action sequences had an unfinished quality to them pretty much all season long, and there was a recap episode inserted between episodes nine and 10. Based on how these scenes actually played out—with various shortcuts to substitute for missing animation—you get the sense that Millepensee at least had high ambitions, initially. (See also Wake Up, Girls! New Chapter.)

Nezuko
Pretty much anything I tell you about this would be a spoiler.

Would Cop Craft be better than Kimetsu no Yaiba if its animation looked as good? I don't think I can claim that, but I suppose potentially in the eyes of viewers who enjoy police stories with odd-couple crimefighters forced to work together. As far as the Demon Slayer story goes, I'm certainly not intrigued enough to seek out the manga now that the series has ended (although there will be a movie to cover the next arc). The fact I enjoyed it as much as I did is another testament to ufotable's anime adaptation which remained consistently good during its 26-episode run. At a minimum, episode 20 contained probably the best sequence I've seen all year. (I'm referring to the scene that basically everyone else who was watching the show went nuts about.) Unfortunately, the following episode did diminish the impact a bit with what I like to call "bullshit shounen jive," but I'm blaming the source material for that one. ufotable at least kept us astounded for the week.

Dated 17 September 2019: Senki Zesshou Symphogear is an anime miracle

Maria
I like this power-up, but I admit I was hoping for another Gungnir jacking.

I'm going to start out by insisting it's not just preschool girls who enjoy shows about mahou shoujo punching things. It's okay for boys to like them too. I've been on board with this concept since at least 2004 with My-HiME, First Pretty Cure, and their subsequent sequels. In 2012, Senki Zesshou Symphogear took this idea, expanded it to include singing while punching things, and raised both the intensity and absurdity levels. From my seat in the stands, this was an anime game-breaking home run. Amazingly, the popularity of Symphogear has proven sufficient enough that we gotten five seasons of it, all five of which are currently streaming on the Crunchyroll. Moreover, Discotek has even licensed it for a U.S. Blu-ray release next year.

Hibiki and Chris
Somehow, despite all the shit they've seen, it's still
possible for them to stare at something in disbelief.

Urgings on the Twitter for followers to "watch Symphogear" has turned into a meme of sorts, but I assure you the sentiment behind these admonitions is genuine. Granted, the appeal of magikal girls singing while punching things isn't always immediately apparent to every anime fan, but there's an old graph that accurately captures the trajectory of impressions by initially skeptical viewers. It's not easy ramping up the stakes continuously, but Symphogear has kept its intensity up through all five seasons. Now on the verge of its series finale, expectations are pretty high, but Symphogear has never let me down before.

Dated 13 August 2019: I might have delayed this Star☆Twinkle Precure entry because I wasn't sure I was using the correct ☆

Hikaru
Is it racist to refer to those aliens as bananafish?

Actually, probably the real reason I haven't written about Star☆Twinkle Precure yet is because it's fine. I've watched every episode of Pretty Cure. It's been running non-stop for more than 15 years now. That is, quite frankly, a LOT of Pretty Cure. Most of the seasons are reasonably good. Some are great. And even the ones on the bottom of the list aren't actually bad. So it's not as if Star☆Twinkle Precure isn't good, it's just that I don't have much to say about it. What I should have done was provide a end-of-series write-up for Hugtto! Precure, because that was bananas. No promises, but maybe I'll go back and eventually give Hugtto! Precure a proper sendoff. At a minimum, I've got to say that Hugtto! Precure ended in a totally unique way that differed dramatically from how every other series in the franchise dealt with its main antagonist.

Elena
Bonus secondary transformation in episode 27.

Seeing as how Star☆Twinkle Precure is only a little past its halfway mark, there are plenty of opportunities left for it to go off the rails. I mean, its squad of legendary warriors already includes actual space aliens, one of which has so many different personas that I'm losing track of which one is her "real" one. It's arguably the embodiment of the idea SDS applies to Cure Sword. At a minimum, it has a lot of diversity and no shortage of new ideas. However, through 27 episodes, I'm still waiting for Star☆Twinkle Precure to do something dramatic enough that I'll want to revisit it in the years to come. That's surely not a fair demand to place on the latest installment of a show intended for small children—one that's been running since 2004, but that's at least where I'm at in 2019.

Dated 1 July 2019: I'm watching Re:Zero because of Isekai Quartet

Emilia and Subaru
This is some compositing.

I tried watching Re:Zero kara Hajimeru Isekai Seikatsu (Re:ZERO -Starting Life in Another World-) when it aired during the Spring 2016 anime season. I made it five episodes before dropping it because I found the show rather irritating. Fast forward to the Spring 2019 anime season, and somehow Isekai Quartet finished at the top of my rankings, edging out Kono Oto Tomare! I did, in fact, expect this to happen. (The watching part, not the ranking part, that is.) I've made it through the first cours of Re:Zero so far, and do have to admit it improves quite a bit after the initial episodes.

Emilia
Partial eclipse.

I'm a little surprised how few spoilers I knew, and how many I had forgotten. That probably helped, by preserving the sense of mystery that pervades the second half of the first cours. I do 100-percent still remember the Rem and Emilia spoiler which is still to come, though. However, since I don't actually 'ship any of the characters, knowing this probably isn't going to matter much one way or another. In any case, my renewed curiosity in Re:Zero is probably a testament to the success of Isekai Quartet as a marketing ploy. Seeing as how Isekai Quartet is getting a second season, with the promise of unspecified newcomers, I suppose it's possible the premise will expand to include more than just four Kadokawa-affiliated isekai properties, although then maybe they'll need to call the sequel something like Isekai Octet or whatever. I think I'd be okay with that.

Dated 25 March 2019: Kouya no Kotobuki Hikoutai is good, but I wouldn't call it magnificent

Kylie
Go on, Kylie, curse the bitch out.

The air battles in Kouya no Kotobuki Hikoutai (The Magnificent KOTOBUKI) are consistently fantastic. Those alone managed to keep the show at the top of my Winter 2019 list all season long. However, I never got particularly invested in the story or the characters, perhaps with the exception of the flashback-heavy one with Kylie before she became a pilot. In contrast, Mizushima Tsutomu was much more successful with GIRLS und PANZER (admittedly a very tough act to follow), which has much more engaging characters complemented by the excellent tank battles.

Kylie
Somehow, Kylie wasn't a hellion as a kid.

With 11 episodes down and presumably only one to go, KOTOBUKI seems poised to hit its big finish. This would have greater significance if I cared more about the characters or the things they had at stake, but at least I'm confident the dogfights will be awesome. Incidentally, since my initial post included comparisons with Girly Air Force, I suppose I should note that my interest in Girly Air Force crashed and burned within four episodes. I don't think I've seen anyone else mention it on the Twitter in all that time either, so I guess it probably didn't have enough going for it even if Eagle was very American.

Dated 26 December 2018: Golden Kamuy and SSSS.GRIDMAN are among the best shows of the year

Asirpa
This is the sort of happiness you can only achieve by eating animal brains.

Some questionable publicity concerning some really jarring 3DCG got Golden Kamuy off to a bad start, but the strength of its source material pulled through. I'm one of those people who believe it's better to watch an anime first before reading its source manga, so basically all of the second cours was new to me. I'm told that the show truncated quite a bit of material in order to reach the second season's climax (and that it also cut out scenes that would have otherwise included more 3DCG animals). And what a climax it was. Basically, without going into spoilers, CRAZY SHIT HAPPENS, and there are real payoffs regarding characters that the viewer has gotten to know over the course of 24 episodes. With so many strong episodes this season, the second cours of Golden Kamuy is even better than SSSS.GRIDMAN.

Akane
It turns out Akane was the show's real protagonist. P.S. Spoilers.

Hopefully, word has gotten out by now that Studio Trigger did an excellent job with SSSS.GRIDMAN. I was a bit hesitant going in, since Trigger does falter somewhat frequently, and I was entirely ignorant of the GRIDMAN franchise. In fact, I'm ignorant when it comes to the entire genre, for that matter. Basically everything I know comes from posts by @TheIvanhobe on the Twitter. It turns out SSSS.GRIDMAN is satisfying even for viewers like me. I can only imagine how stoked people who recognized the various callbacks and references must have been. I should probably point out that while I put the second half of Golden Kamuy over SSSS.GRIDMAN, I find SSSS.GRIDMAN to be better if you compare its 12 episodes to the full 24 episodes of Golden Kamuy.

Shirase
That is one blue sky.

I should also mention that while I regard SSSS.GRIDMAN and Golden Kamuy to be among the best shows of the year, both were surpassed by five other shows from earlier in 2018. At the very peak is Sora yori mo Tooi Basho (A Place Further Than the Universe), an anime that even The New York Times recognized as being one of 2018's best. I put Hinamatsuri not too far behind, and then (for pretty different reasons), Hanebado!, Yuru Camp△, and Shoujo☆Kageki Revue Starlight. Overall, a pretty good year for anime. I can't claim that Winter 2019 looks ready to compare with Winter 2018, but maybe there will be some surprises coming up again as well.

Dated 26 March 2018: Sora yori mo Tooi Basho and Yuru Camp△ are the best shows of Winter 2018

Rin
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.

Hinata
"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.

Violet
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.