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Sep 30, 2025
Summer Pockets is yet another anime adaptation of a Key/Visual Arts visual novel, the creators behind titles like Clannad, Little Busters!, Angel Beats!, Kanon, Air, Planetarian, The Day I Became a God, Charlotte, and others.
Interestingly, most of the titles I listed had direct involvement from Jun Maeda, who eventually stopped working on anime entirely after The Day I Became a God to focus on the much more successful Gacha: Heaven Burns Red. As a result, Summer Pockets, despite sharing a similar feel to previous Key works, has mostly different writers, which can make it feel somewhat derivative of earlier Key projects.
That's not necessarily a bad
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thing. In fact, the Summer Pockets anime does some things better than previous Key works, whether they were visual novels or not.
In most visual novel anime adaptations, you may or may not know, the source material often features routes where the main character dates a heroine, navigating their drama while building a romantic relationship. Anime adaptations tend to tell these stories without the romance, except in specific cases like Kurugaya in the Little Busters! anime or Tomoyo and Kyou having their own separate romance OVA, as their routes would otherwise overshadow the main Clannad plot.
Due to how the plot works in Summer Pockets, I appreciated how the anime retained the romance in each heroine's arc. Instead of cramming all the characters and stories into one timeline where the main character ends up with the main heroine, as seen in Clannad or Little Busters!, Summer Pockets takes a purposeful omnibus format, similar to Amagami. The protagonist pairs with a heroine, goes through their romance, and then time rewinds to the beginning of the story, where he chooses a different girl.
I'm thrilled a big-budget anime adopted this omnibus format. The only other times I can recall this being done successfully were in the adaptations of Amagami and Yosuga no Sora.
For the most part, the heroine arcs are probably the most consistent among all previous Key works. While I wouldn't say any of the four main arcs before the final one are amazing, they are at least consistently decent or better. In contrast, arcs in Clannad, Little Busters!, and Kanon/Air were often much more uneven in quality.
The anime also does a great job of carrying on the tradition of using background music straight from the original visual novel, much like Clannad and Little Busters!. This really enhances the atmosphere of a chill summer vacation on an island.
In general, the anime balances lighthearted slice-of-life moments to introduce the characters' personalities while building up the darker, dramatic elements, ensuring the emotional climax of each arc is at least decently impactful and makes sense for the characters. I liked all four main heroines—Shiroha, Ao, Kamome, and Tsumugi—fairly well.
The final arc was probably my favorite part. It delivered the best emotional payoff and tied into the true main character and heroine effectively, even if it leaned into the usual Key trope of over-the-top supernatural elements. Compared to other Key works, the supernatural aspects of Summer Pockets I thought were at least better built up and consistently executed and used from the beginning as opposed to other Key works where the buildup is really vague and usually only real reveals happen at the very end of the story.
While I think Summer Pockets is generally pretty good and consistent, it has some issues that prevent it from being truly great and, sadly, make it a downgrade compared to at least half of Key's anime titles.
The comedy, for instance, is hit-or-miss at best and generally not that good to me. There are humorous moments here and there, like Ao being a closet pervert or Kamome's unpredictable quirkiness. I personally think Shizuku's obsession with boobs is the funniest joke in the show. There are also some one-off jokes, like Tsumugi and Hairi having the conversation at the beginning of her arc about wanting to find herself while she's just sitting on the lighthouse.
However, many jokes fall flat or feel repetitive, like Shiroha's "dosukoi" catchphrase or the constant references to people failing at making fried rice. The humor around the two "bro" characters, especially the shirtless guy who keeps getting hit with a water gun, isn't funny at all.
As I've alluded to, while none of the typical Key "feels" is bad, it's not particularly standout either. It can feel overly melodramatic, relying on predictable surprise plot twists to evoke sadness rather than unexpected character development, especially if you're familiar with how Key plot twists and drama work.
This is the Key work with the highest amount of supernatural elements in its routes. Every character has some kind of supernatural power, and while some are explained in typical Key fashion, many are barely justified beyond "it just happens" or "something happened to me" toward the end of an arc. This isn't my favorite type of Key storytelling.
While I generally liked the final arc the most, it's probably the least gimmicky compared to the true routes of other Key titles like Clannad: After Story or Little Busters!. However, I wasn't a huge fan of how the main character, Hairi, suddenly became irrelevant. It was a fun twist, but it made me question why we followed him for most of the show if he ultimately didn't matter as much in the final arc of the story.
As I mentioned earlier, Summer Pockets feels very safe and familiar. You can trace many narrative elements and supernatural "feels" to previous Key works. While this isn't necessarily bad—it allows time to polish everything, ensuring consistency—the lack of originality makes it a fun but not particularly memorable experience.
That said, this makes Summer Pockets probably the most beginner-friendly Key title for both anime and visual novel fans. If you're unsure whether you'd enjoy a Key title, this is a great way to explore their signature elements. From there, you can decide which title to dive into next if you like it enough.
Summer Pockets offers a good mix of fated scenes, friendship themes, romance, supernatural emotional moments, character dialogue, and solid pacing, all wrapped in vibrant visuals with a strong buildup based on the established characters.
Overall, I think Summer Pockets is an enjoyable experience, especially if you're familiar with Key titles. In terms of quality, it's pretty middle-of-the-road among Key adaptations. While that's not necessarily a bad thing—other Key titles have had significant issues that made them less enjoyable—Summer Pockets feels derivative and predictable. Still, its consistency is a strength, and a consistently enjoyable anime in 2022 (assuming the MAL release date) is hard to come by, especially for visual novel adaptations. The omnibus format is a definite highlight, making it a solid, recommendable watch for those seeking emotional character-driven stories with a touch of supernatural flair.
PS For anyone who wants comparisons to how it adapted the original visual novel. While I have not read the original VN, I know a bunch of people who have and have talked to them about it. I also watched a YouTuber @Genchaku who reviewed the anime and read the VN and he said that for the most part each arc was pretty faithful although usually the dramatic parts of the VN are a bit more rushed compared to the first half with Shiroha's arc being the shortest in the anime being only three episodes when the other three main heroines had four episodes. Also, the anime is most clearly based on the original VN, not its "enhanced" version Reflection Blue. So even the tweaked ending of the true route ending of Reflection Blue is not in the anime. And the only reference to Reflection Blue is a really quick cameo appearance of Shiki in one episode.
Reviewer’s Rating: 8
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Sep 28, 2025
The 9-nine-: Ruler's Crown anime is a compelling adaptation of a visual novel. If you watch it standalone, you might think the original visual novel was just a Steins;Gate-like time travel story with urban fantasy magic action. While that’s technically true, what you may not know is that the original visual novel was episodic, with four episodes focusing on the main character romancing each of the four main heroines—yes, including his little sister.
In a way, that’s both the best and worst thing about the 9-nine-: Ruler's Crown anime, especially compared to the visual novel. If you only care about plot reveals, cool magic action, and
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an all-killer, no-filler approach to building characters—just enough for you to care about them before diving into the plot—then 9-nine-: Ruler's Crown does that best. The world of artifacts is a way for the main characters, main villains, and some side characters to have secret magic powers tied to a TV show.
The story starts with Kakeru Niimi, the main character, a seemingly normal, slightly snarky but nice guy, wanting to get closer to his classmate Miyako Kujou, an attractive, kind, and feminine girl who works at a small coffee shop. His goal of getting closer to her ends up dragging him into a huge plot revolving around the city they live in.
As stated, with 13 episodes, the anime builds up the five main characters well enough. In addition to Kakeru and Miyako, we have Sora, Kakeru’s gremlin-like little sister who’s cheeky but clearly cares for her big brother; Haruka, who seems to have multiple personalities, switching between a shy girl with social anxiety and someone confident and flirty; and Noa Yuuki, who seems extremely aloof, blunt, and edgy but knows a lot about the situation and may have the powers to deal with it.
For the most part, the characters are introduced well. You get a sense of their general personalities, and they’re pretty likable. As the story progresses, you meet more characters like Kakeru’s best friend Yoichi; Renya, a chuuni redhead; a mysterious blonde woman; and a mysterious talking plushie, Sophie.
By blending genres like mystery, action, slice-of-life, comedy, and romance, 9-nine-: Ruler's Crown creates an interesting world and characters. It’s not the best in terms of characters or plot and can feel derivative at times, but the way it blends urban fantasy with a Steins;Gate-like time travel story is well-executed. There are cool twists and drama once the plot gets going around episodes three or four.
Sadly, while the plot is generally well done, the character interactions and development are more of a mixed bag.
The main character, Kakeru, is mostly well done. However, because the anime adapted the plot by eliminating most of the slice-of-life romance and comedy, it feels jarring that his so-called crush on Miyako Kujou fades into the background extremely quickly after the first few episodes, until the way end of the show.
Similarly, while there’s some teasing about Sora’s feelings for her brother, it’s barely addressed outside one or two scenes toward the middle of the anime and is quickly forgotten.
Haruka has great moments about wanting to overcome her shyness, but her arc feels fragmented, mostly occurring toward the middle and end of the show. There’s also an implied romantic crush on Kakeru, clearly based on the visual novel, but it lacks buildup since her slice-of-life episode from the visual novel was cut.
Noa Yuuki probably has the best overall character development, as her story ties heavily into resolving the increasingly complex plot. My issue is that her warming up to the main crew feels a bit jarring due to the lack of slice-of-life moments, making her transition from cold to fitting in with the group feel abrupt.
I’d comment on Miyako, but I think she was intentionally written as the least deep character, which isn’t necessarily bad. She’s a shy but nice, deredere character with just enough depth in wanting to help people.
There are also some personal nitpicks I have, like how Kakeru’s best friend, Yoichi, is kept a bit too conveniently annoying personality-wise, or how the redhead, Renya, never makes his love of flat-chested girls rants from the visual novel. I also think that, even though Sora seems to be the most popular heroine from the original VN fanbase, I always thought she was fairly annoying.
While the animation is mostly serviceable, there are moments where the animators clearly used lazy stills—when characters are zoomed out or in the background, they often have funny-looking eyes or shadows over their faces so the animators didn’t have to draw them in detail.
Overall, 9-nine-: Ruler's Crown is an enjoyable but inconsistent experience. It excels at drawing you into the plot and delivering crazy reveals about the magic, the main villains, and the time travel aspect. While there are likable characters and decent comedy, not all of them shine in the character development department, and their supposedly close bonds don’t feel as strong as they should.
I’d recommend 9-nine-: Ruler's Crown with a cautious positive recommendation. Watch it if you’re interested in eventually reading the visual novel, if you really want to see something that emulates a Steins;Gate-like time travel story, or if you enjoy urban fantasy magic action.
Reviewer’s Rating: 7
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Sep 26, 2025
This review will primarily be from the perspective of someone who read the original visual novel. However, this won’t be one of those typical "original source material elitist" reviews because I think Nukitashi is one of the better-executed visual novel-to-anime adaptations, despite its changes. I believe it’s pretty well done as a standalone, though I do have some issues with it.
Starting with the animation studio Passione, they were the perfect fit for a crazy setting like this. Given that they’ve worked on projects like High School DxD Born and Interspecies Reviewers, and with a setting where public sex is mandated by law, silly sex
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puns abound, and over-the-top goofy jokes are unlike anything else, it was great to see this in anime form as someone who experienced it through the visual novel. Thankfully, Passione’s art style complements Nukitashi’s fairly unique style perfectly.
In general, the anime does a great job of capturing the spirit of the original visual novel. The over-the-top comedy, as mentioned, shines through, but so does the surprisingly serious focus on character development and social commentary within the setting.
Whether it’s the main characters joking around or tackling legitimately serious topics—like how they navigate loveless sex, evade the "sex enforcement police," or rescue an adult-aged loli from a pedophile—the anime balances that weird mix of hilarity and surprising seriousness that the Nukitashi series is known for. Even in the weakest episodes, the great humor, fun interactions, and fight scenes made every episode at least enjoyable in some way.
Having a series that constantly puts sex in your face yet manages to be—not titillating, but something to laugh at—is, in my opinion, quite a feat. The way the anime introduces viewers to this world is something I can’t praise enough.
The main characters are generally well-characterized too. The protagonist, Junnosuke, strikes a good balance of being vengeful toward the island while showing how his harsh actions, driven by his past, are misguided. He also has some goofy, incel-like humor that I find funny to laugh at. Everyone in his—let’s call it a harem—is generally well-executed too, each with their own unique jokes. For example, Hinami wants to be everyone’s big sister despite looking like a loli, Misaki is the butt of jokes about being fat, into anal, or too plain, while Nanase and Fumino are the more low-key feminine types with fewer jokes.
Even the antagonist group, the FS, is well-executed. The big three—Touka, Rei, and Ikuko—mix clear antagonism toward the main group, the NLNS, with shades of complexity. They’re not entirely bad guys; they’re on this sex-positive Seiran Island for reasons like family or financial issues, and many of them form a kind of found family.
There’s also a surprising amount of romance, mostly between Junnosuke and Nanase, and I’d say, while a bit fast-paced, it has a surprisingly well-done conclusion. It’s definitely better than the average action series with a secondary romance.
As much as I’ve praised this anime, I do have several criticisms, both as a standalone and in comparison to the original visual novel.
While the characters are generally well-characterized, I feel there’s a lot of missed potential with a few. For example, Junnosuke’s little sister, Asane, has a few funny moments early on, but after the first few episodes, she fades into the background and doesn’t get nearly as many funny jokes as she did in the original visual novel, which disappointed me.
Misaki, while technically better off in the anime than Asane because she gets plenty of funny moments, still feels heavily nerfed compared to the visual novel. I think she’s easily the funniest character—not just in this series, not just in any visual novel, but probably my favorite visual novel character in terms of humor overall.
I also thought the way Misaki and Fumino were introduced to the main group, while fun, came a bit too late. As a result, I didn’t feel the close bonds between them and the main group compared to the original four members, as they lacked the personal development and screen time due to how much the anime was juggling.
Speaking of juggling, with just 11 episodes, there’s a lot to pack in, even if it’s mostly about introducing the setting and focusing on Nanase as the main love interest. However, the anime also has to develop other characters, including the antagonists. While they get bits of development here and there, some elements feel too rushed. Since the series focuses on only a few heroines, many characters feel left out.
Additionally, there’s an unfortunate lack of fight scenes. Sure, we had three major ones, but compared to the visual novel, where the main characters are constantly escaping school to avoid public sex in funny yet intense ways, the anime barely shows this. In general, it feels like the anime doesn’t go as over-the-top with the silliness of the main group hiding from the school as I’d like. The fight scenes we do get are fun, to be fair—I just wish there were more.
I also have other nitpicks, like how part of Junnosuke’s development from the visual novel—where he was quite bitter toward Nanase for a while, thinking she was a "legitimate slut"—wasn’t covered in the anime. In the anime, he’s super nice to her after the first episode. While it’s good that he shed some of his bitterness, this development could have been streamlined to show his gradual acceptance of the island and its rules.
Ultimately, many issues come back to the fact that this anime was only 11 episodes. I’m guessing this was due to budget constraints, which allowed Passione and the original visual novel developer, Qruppo, to get greenlit for three different versions to air on anime streaming services, given the intense sexual nature of the setting. However, I honestly think that with at least 12 more episodes, they could have addressed many of my complaints—whether by adding more character development, more fight scenes, or more of the comedy I missed—while maintaining a well-paced structure that focuses on romancing Nanase and exploring the darker aspects of the setting, which are decently developed in the anime.
As it stands, I think the Nukitashi anime is great to watch standalone. It tells a story about its truly unique setting with themes of sex, body image, minorities, coexistence, and more. If you're interested in the visual novel but unsure if you’d like it, you can watch the anime to get a sense of the setting.
You can also watch the anime standalone if you want a unique comedy series for the setting’s take on sex in a narrative sense.
I highly recommend checking out the Nukitashi anime regardless unless you really hate seeing on-screen sex in a story or were hoping for a beat for beat adaptation of the visual novel.
Reviewer’s Rating: 9
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Aug 17, 2025
A sentiment among visual novel fans is that the vast majority of visual novel-to-anime adaptations tend to be lackluster, with only a small handful receiving praise, such as the universally acclaimed Steins;Gate and Clannad, the generally well-liked Fate/stay night: Unlimited Blade Works (ufotable), and Higurashi by Studio Deen. More recently, the infamous Nukitashi by Passione has also garnered attention.
I find that I tend to enjoy some anime adaptations that others dislike, such as Chaos;Head, Rewrite, Grisaia, and even Umineko. They may not be perfect adaptations, but to me, they capture the tone of the series and characters well enough. Even if they move a bit
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fast, I enjoy seeing scenes from the visual novel in anime form. I think, for the most part, they do what anime adaptations are supposed to do: create cool, memorable moments to spark interest in the original source material.
However, the Maji de Watashi ni Koi Shinasai (shortened to Majikoi) anime is probably not the worst visual novel adaptation ever—there are others that completely deviate from the story or have worse art and pacing. Still, Majikoi is by far my least favorite visual novel-to-anime adaptation for several reasons.
It’s worth noting that my all-time favorite visual novel is the original Majikoi. I was excited when the anime was announced, as I knew many of my friends would never read a visual novel, so an anime, if decent, could introduce them to the title.
Unfortunately, Majikoi screws up right from the first episode. On one hand, it’s a cool CliffsNotes version of the Kawakami War from Momoyo’s route, setting up her bad ending as the prologue to the rest of the anime. I kind of like the idea of this: despite Yamato failing to win Momoyo initially, it could lead to an anime where she gets more development, realizing there’s more to life than fighting.
However, in my opinion, the Majikoi anime fails from the first episode, both for original visual novel fans and anime-only viewers looking for an amusing harem slice-of-life show.
I tried showing the first episode to my friends, but it was clear they were confused, dropped into a big war with characters fighting without context. This was before the rest of the series aired, and I realized what a mistake it was. My friends were even less interested in the title because there was no hook—just random characters with weapons fighting. It felt like the anime expected you to have read the visual novel, which I think is a terrible approach.
The anime should have spent at least the first three episodes introducing the characters, as the original visual novel did, showing how the friend group started with the core six bros and gals, then later introducing Chris and Yukie alongside jokes from side characters.
In an ideal world, the entire anime should have just been the original visual novel's common route. It’s 10 hours in the VN, packed with fun unique over the top slice-of-life comedy around the Kazama family, great character moments, and cool fight scenes.
Sadly, the anime handles character introductions in episodes two and three, and what they did to the characters can only be described as a massacre.
On paper, the characters retain their base personalities from the game: Momoyo is an extremely strong, cocky woman obsessed with fighting; Wanko is the energetic, wholesome, devoted girl who trains daily to stand alongside her big sister; Miyako is the over-the-top pervert who’s openly in love with Yamato due to their past; Yukie is a socially anxious, shy girl who uses ventriloquism with her phone strap to express her inner thoughts; and Chris is a proud, spoiled German foreigner obsessed with justice.
In the visual novel, their humor, depth, and appeal were evident early in the common route, relying on unique, over-the-top jokes tied to their personalities, pasts, goals, and group interactions. Sadly, the anime feels like a generic ecchi harem anime—a genre that was super popular when it was released. This meant rewriting the five main heroines into generic harem tropes, like getting caught naked by the protagonist and calling him a pervert or being overtly in love with him with little depth.
By focusing on the harem aspect, the anime neglects what I loved about the original childhood friend group: its tight-knit dynamic, including three to four bro characters alongside Yamato. While the guy characters exist in the show, they’re extremely minor, feeling like generic bros instead of the close bonds from the visual novel. Sure, they hang out in their secret base like in the game, but the interactions lack depth. It’s just shallow ecchi harem comedy with faint traces of the goofy, unique humor from the original.
While many side characters appear and do mildly funny or cool things, the issue is the same as with the main cast: there’s barely any proper introduction. Beyond episode one’s chaotic fight, we hardly learn their personalities, flaws, strengths, or motivations, so their fight scenes and roles feel inconsequential. They’re nowhere near as funny or memorable as in the visual novel.
Speaking of character changes, one that makes no sense is what they did with Takae Tachibana, a character noted as a former member of the Big Four, later surpassed by Yukie, before the story started. Takae had a compelling personal journey in her routes in Majikoi S and A-5, sequels to the original VN, a wholesome journey of coping with her bad luck. The anime, however, turns her into the closest thing to a main antagonist, giving her bizarre robot arms powered by spiritual energy or something. She also gets an anime-original lesbian lover, Saki Mimori. This could have been fine if it was hinted at in the visual novel, but it comes out of nowhere, and we’re expected to care emotionally despite zero context for her transformation, just to give the anime an antagonist.
It’s frustrating because I want to like the plot idea where Takae and Saki were supposedly abandoned by Japan, tying into Yamato’s goal of becoming prime minister to restore faith in the country. But it’s rushed and gives no reason to care, especially since this plot only matters in the second half of the anime.
Then there are the secondary antagonists, the Itagaki siblings and Shakadou, who are main antagonists (or at least one of them) in the original Majikoi true route. The anime tries to make them threatening, but it feels like a joke. They’re defeated far too easily compared to the visual novel. For example, in the game, Tatsuko is so powerful that even Momoyo struggles against her. In the anime, Miyako somehow beats her with arrows, punches, and her love for Yamato—something she could never do in the original.
On top of that, all the main heroines fall in love with Yamato at the same time and are equally obsessed with him, which never happens in the visual novel. Miyako is the only one consistently in love with Yamato in the game, so having all the heroines’ personalities revolve around vying for him, with shallow interactions, is super disappointing. There are cringe-worthy moments where the heroines fight over Yamato’s attention and put each other down. One especially egregious moment is when Momoyo and Wanko’s sisterly bond is temporarily broken in an obnoxiously out-of-character scene—something that never happens in the visual novel.
To top it all off, the anime ends with none of the heroines winning, all so they could do a "title drop" in the final second of the last episode. Admittedly, this is one thing the anime does better than the visual novel, which barely touched on “loving someone seriously.” But the buildup is cringe, generic, unfunny, and makes many characters more unlikable than they should be.
Overall, the Majikoi anime is incredibly disappointing at best and, at worst, something I low-key hate. It has some moments—the comedy occasionally works, the action scenes are serviceable, and including Yamato’s prime minister goal and belief in Japan (which even the visual novel sequels forgot) was a nice touch.
Sadly, between the heroines’ hit-or-miss generic ecchi harem comedy, becoming unlikable in uncharacteristic fights over Yamato, the loss of the Kazama family’s close friend dynamic, and a half-baked plot with wasted potential, it’s not sure what it wants to be. It may not be objectively the worst visual novel-to-anime adaptation, but it’s easily my least favorite as a huge fan of the source material.
I cannot recommend this anime to fans of the original visual novel or to people just wanting a fun action ecchi harem show. There are many better anime series out there, and for the love of God, just read the Majikoi visual novel instead, you can get it on Steam.
Reviewer’s Rating: 3
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Aug 10, 2025
AOKANA: Four Rhythm Across the Blue is an anime adaptation of a visual novel that I enjoyed quite a bit. In this review, I’ll discuss how the anime stands on its own while also evaluating how well it adapts the original visual novel.
--The Unique Setting--
The main appeal of AOKANA lies in its focus on a fictional sport called Flying Circus. More broadly, the setting features an island where people use anti-gravity shoes to fly to school, though there are strict restrictions on how and where these shoes can be used for travel.
The anime does an excellent job of showcasing the excitement of Flying Circus. In
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the visual novel, the sport is depicted through moving sprites and beautifully drawn CG stills. Seeing these sequences animated is a treat, even with some obvious CGI. Personally, I think the CGI fits the series well and is far from the worst I’ve seen in anime.
If you’ve watched sports anime like Kuroko’s Basketball, Haikyuu!!, Hajime no Ippo, or Ace of the Diamond, you’ll know what to expect. The focus on Flying Circus consists of small tournament arcs and one-on-one battles, with surprising depth in the sport’s mechanics.
The anime explains the rules better than I can here, but essentially, players must reach floating buoys to score points. You earn points by either beating your opponent to the next buoy (there are four, similar to bases in baseball) or by getting behind your opponent and touching their back. The player with the most points wins. The anime does a decent job of conveying the mechanics and the unique hype of the setting. Some matches are thrilling while still incorporating the character development typical of shonen-style sports anime. That said, I think the anime could have explored the different classes—Fighter, Speeder, and All-Rounder—in more depth, as some character development revolves around these roles.
--Characters--
While the anime technically features four main heroines, it clearly focuses on the pink-haired Asuka and the black-haired Misaki from Kunahama High.
Asuka is essentially the main character. I like to think of her as a pink-haired, airheaded version of Goku from Dragon Ball. She starts as a complete novice but uses her natural talent to pull off impressive moves and improve quickly. Some might call her a Mary Sue, but for me, her genuine love for the sport and the anime’s theme of finding joy in competition despite its pressures keep her from feeling like one.
Misaki, the secondary main character, is portrayed well as a skilled Fighter-class player in Flying Circus who tends to be lazy. Her goofy, relaxed attitude contrasts nicely with the depth revealed later in the series, which I found engaging.
Other heroines, like Mashiro, who is basically Misaki’s fangirl and closest friend, don’t get much depth in the anime. There are also side characters from rival schools, like Rika and Shindo from Takifuji, but the most significant characters besides Asuka and Misaki are Saki Inui and her partner Irina, who serve as the series’ true rivals and antagonists.
For those familiar with the visual novel, you might wonder about the main male character, Masaya. In the anime, he’s more of a supporting character, serving as the school team’s coach and a former competitive player. The anime hints at why he retired, but he gets far less focus compared to the visual novel. While I don’t mind the shift away from him as the protagonist—since the anime avoids the visual novel’s heavy romance angle—it feels odd to limit his development. In the visual novel, Masaya’s arc centers on rediscovering his love for the sky and competition, with Asuka helping him rekindle that passion despite his role as a coach. There’s a cool moment in the anime where he briefly uses his gravity shoes again, which he rarely does in the visual novel. For anime-only viewers, this might not seem significant since it happens only once, but visual novel fans might see it as nice fanservice while feeling disappointed that it wasn’t in the original game.
--Story and Character Development--
The story primarily follows Kunahama High’s team as they aim to win matches and tournaments while training. The anime makes this clear, but at times, it feels like matches happen just for the sake of it. This was a minor issue in the visual novel as well, which leaned more overtly into slice-of-life moments.
I have mixed feelings about the anime’s character development. In the visual novel, Asuka and Misaki each had their own story routes blending romance with personal growth and their roles in Flying Circus, creating compelling drama. The anime combines elements of both routes, and while it handles their development decently, it’s not as memorable or well-built as in the visual novel.
For example, Misaki’s major character development in the anime’s second half feels rushed compared to her route in the visual novel. A callback to her special move in the second-to-last episode lacks impact due to insufficient buildup, feeling more like a shout-out than a hype moment. Asuka’s arc, centered on showing how fun Flying Circus can be, fares better and remains generally positive and fitting. However, there’s a melodramatic moment where her development mirrors Misaki’s, which wasn’t in the visual novel and felt out of character for Asuka. Thankfully, outside of that, she remains a cheerful, optimistic character who influences others’ motivations. I particularly enjoyed her dynamic with the antagonist Saki, and their final fight in the last episode is a well-executed rendition of the climax from Asuka’s visual novel route.
The other two heroines, Mashiro and Rika, have a few wholesome episodes, but it often feels like the writers struggled to integrate them without clashing with Asuka and Misaki. Their episodes come across as afterthoughts, relegated to comic relief or minor supporting roles.
--Overall--
Overall, AOKANA: Four Rhythm Across the Blue is a decently fun way to enjoy a unique, fictional sports anime. If you’re looking for something different from anime depictions of real-life sports like soccer, basketball, or boxing, this is worth checking out. The second half, blending two visual novel routes with some anime-original content, works well enough and highlights the appeal of Flying Circus. For those intrigued by the sport and characters, the visual novel offers deeper exploration and some of the best character development I’ve seen in the medium.
Reviewer’s Rating: 7
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Jun 23, 2025
As someone who was once a former big fan of both Slice of Life and rom-coms in anime, either together or separately, I've been pretty jaded with the style most have been going for over the last decade. However, Aharen-san wa Hakarenai Season 1 somehow came out of nowhere and became the Slice of Life and rom-com combo I'd wanted for so long. It had the perfect mix of quirky, unique comedy while still being wholesome and having relatable Slice of Life, romance, and friendship moments, and most importantly, led to a couple actually getting together by the end of Season 1—something that, for
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some reason, is still really rare in anime.
This led me to read the original manga, and even though I knew just about everything that was going to happen when Season 2 was announced, I was incredibly hyped regardless, since this didn't seem like the type of show that would get a Season 2 based on its popularity relative to other Slice of Life shows that I thought would have gotten a Season 2 much earlier (where's the Bocchi the Rock Season 2?).
With all that said, how does Season 2 of Aharen-san wa Hakarenai turn out? In my opinion, it executed the things I loved about Season 1 but generally did them better and removed a few of the flaws I had.
Right from the beginning, the show makes it clear that it's going to be more or less the same as Season 1, with a focus on quirky comedy centered on both the main couple and the many, many side characters who appear, and I would say, for the most part, this is one of my favorite Slice of Life character casts. None of them are necessarily among my top favorites (except Reina Aharen, who's now my favorite anime and manga girl), but I think they all have good variety in terms of personalities and jokes. They contribute to the show while maintaining the fairly wholesome, quirky vibe.
Naturally, the main stars are Raido and Reina Aharen. Every episode has them interacting in a wholesome and/or hilariously weird way. I think this is a couple that works great, whether as best friends or as a romantic couple, but to me, they are essentially my personal idea of "relationship goals": a couple that knows they're both relatively unique but enjoys each other's company, so they can just talk about whatever they want and are communicative enough to share interests, even if it means doing weird things like making life-sized visual versions of each other. Yet they still do surprisingly normal, cute things like playing games together or sharing an exchange diary.
These may not sound like exciting things, even for a romance, but as someone who specifically wants a more relaxed, wholesome Slice of Life with romance, this is exactly what I've wanted in a romance anime forever. Seeing the two naturally and clearly enjoy each other's company, both in friendship and romantic moments, is easily my favorite part of this show, and I'm glad this season gave some of the best development the couple had in terms of getting closer after Season 1, with the last few episodes that even gave Raido much-needed development. And, of course, seeing Reina get easily embarrassed when Raido is nice and wholesome to her is always cute to watch.
However, I would say the side cast stepped up here, too. The big one is the addition of Riku, Reina's childhood friend and the focus of Episode 1, which sets the tone greatly for how the rest of the series will play out—or rather, shows the series aims to keep the same tone as Season 1 with similar, if not better, wholesomeness and quirkiness. Riku, despite dressing like a gyaru, is oddly relatable to me since she has social anxiety-related thoughts about how she appears in public and wants to experience a normal high school youth, which I think some people can relate to, though, obviously, she can be a bit over-the-top about it, as expected of a comedy show.
There is a bigger focus on the immediate friend group, like Ooshiro, Ishikawa, and Satou, with all the friend groups showing how much they clearly like being around each other. While there's no shortage of friend groups in anime and manga, I would say this is one of my favorite friend groups of at least five people or more. They feel like they got together through shared interests—or rather, through shared friends—and they just jive really well together.
We still have many memorable side casts, like the teachers who get really into shipping the main couple or the main characters' little sisters and how they contrast the main couple, and I think they all contribute to a really fun time in the show, leading to consistent laughs and, ultimately, a surprisingly wholesome ending.
Now, as much as I love this show and wish I could just gush about it all day, this adaptation isn't perfect.
Season 2 skips a lot of content to get to the end of the manga, making it feel like a "best of" compilation of scenes from the end of Season 1 to the manga's ending. If you don't read the manga, I think, for the most part, you'll be fine as long as you mostly care about watching the quirky main duo.
However, the anime adaptation either glossed over or outright skipped some development or quirks of other characters. This includes things like Ren's crush on Riku, more development for the kids Atsushi and Futaba, more development for Ishikawa and Satou, an arc teasing something more romantic between the little sisters of Raido and Aharen, and, of course, more wholesome and funny interactions between the main couple. I think Season 2 still works without these subplots, but a Season 3 including these would have been fine if things were stretched out enough, even considering the handful of anime-original scenes in Season 2, like references to Yakuza and Animal Crossing.
The only other issue is that humor is subjective. While I think the humor in this show is generally pretty funny, it reuses certain jokes a lot, whether it's Raido's unrealistic imaginations of Reina (though thankfully toned down from Season 1), the teachers getting mentally attacked by “esteem” whenever they see Raido and Reina physically close to each other, or Riku's internal anxiety attacks. I thought all of these were funny, but if seeing a bunch of these types of jokes, in addition to Slice of Life stuff, sounds too repetitive, you probably shouldn't watch past Season 1 because things don't change much.
Speaking of things not changing much, while I like the wholesome interactions between the main couple, I thought one thing that would have been developed better, even in the manga, was why Raido liked Aharen to begin with. While I'm glad he's really nice to her despite how stoic he is, he never really changes in that regard, and while I can easily see why Reina fell in love with him, I sometimes wonder why he fell in love with her beyond her being the first person he made friends with. I mean, I'm glad he's far from the typical lame simp type of protagonist who just openly lusts for the most popular girl in school, but I just wish Raido had more character development in general, besides just being thrown in at the end, since Reina had plenty of excellent development in both seasons.
But honestly, anything I critiqued is just me nitpicking so I don't give this a literal perfect score, because, honestly, this is now my favorite Slice of Life. It does everything I want in a wholesome romance, wholesome friendship, and unique, quirky humor that fits my sense of humor perfectly, and it's an overall comfy anime to watch if I just want to feel good and laugh. This style of anime probably isn't for everyone and, sadly, doesn't seem to be very popular. But I will always appreciate series like this existing for my personal tastes, and I'm glad this season was able to adapt to the end of the manga—something many manga and light novels fail to do these days.
Reviewer’s Rating: 10
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May 17, 2025
I still remember when Dragon Ball Daima was announced but hadn’t aired yet, and many fans were disappointed it wasn’t just a sequel to Dragon Ball Super, especially considering the manga content at the time.
I admit I was among those disappointed fans, only mildly interested in the show because it was Dragon Ball written by Akira Toriyama himself. Thankfully, once I started watching, I had a blast, especially at the beginning.
There have been constant comparisons between Daima and Dragon Ball GT. While I was initially unsure how things would turn out in that regard, beyond the premise of turning Goku and the cast into kids,
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I ended up liking the show as a whole—definitely more than GT.
In a way, Daima feels like a modern Toriyama-style remake of GT’s early arcs. The show recaptures the adventurous spirit GT tried to emulate, likely aiming to evoke the original Dragon Ball’s emphasis on exploration. However, I had many issues with GT, which I’ll compare to Daima now.
While GT focused on exploring various planets in Universe 7, it did so in a dull way, with forgettable and unlikable characters, including a grown-up Kid Trunks, who was boring, and Pan and Giru, who were somewhat annoying. Daima mercifully fixes these issues in the best way. It feels like a true sequel, specifically to the Buu Saga of Dragon Ball Z. Interviews have noted that the Buu Saga manga was largely driven by editors and higher-ups forcing its existence, despite Toriyama wanting to just end it. While many have understandable issues with the Buu saga, I personally enjoyed it, despite its missed potential.
One of those missed opportunities was exploring the Demon Realm with characters like Dabura. I’m glad Daima finally let us visit the Demon Realm, which had been hyped up. I was intrigued by details like the Supreme King of the Demon Realm. Some might have mixed feelings about the reveal that all pointy-eared characters in the Dragon Ball series, like Namekians, Shin’s race, and Dabura’s race, originate from the Demon Realm in some way. I found it a fun way to make these races relevant again. Sure, it could feel like a side quest, but to me, it’s like a cool RPG side quest that delivers fascinating lore. While not critical to the main story, it justifies some of Toriyama’s spontaneous world-building and ties things together.
I can tell Toriyama had a lot of fun writing this show. Many fans prefer the serious parts of the Dragon Ball series, especially Z and parts of Super, with their memorable villains, epic fight scenes, and power-ups. However, Toriyama’s favorite style has been noted to be comedy, gag manga, and adventure. I could sense he was having the time of his life creating this new world and returning to the comedic style of the original Dragon Ball, which was somewhat retained in Super.
Learning about the three parts of the Demon Realm and its world-building—like the bugs, interdimensional travel, and their version of Dragon Balls—was engaging. I also liked most of the new characters, like Glorio and Panzy, who had that classic Toriyama charm. Many of the demon characters’ designs felt straight out of Dragon Quest, which is fitting since Toriyama was the main artist for that series before his passing.
While Dragon Ball Daima has fewer fight scenes than Dragon Ball Z or Super, the ones present feature amazing animation—leagues above most of Super, even though I love that show.
As much as I’ve "glazed" Daima so far, I can only say I liked it, not loved it. While I enjoyed learning about the Demon Realm, the show’s 20-episode limit meant the plot had to accelerate, and the world-building became less relevant as the series progressed. This was unfortunate, as there was clearly more to explore, but it felt sidelined once Piccolo, Bulma, and Vegeta met up with Goku and Supreme Kai Shin.
This leads to what I call lazy fan service in the second half. Don’t get me wrong—the second half was still enjoyable, but its reliance on introducing new forms out of nowhere was my biggest complaint. While it was cool that Vegeta achieved Super Saiyan 3 and Goku reached Super Saiyan 4, online complaints about continuity—how Daima complicates what’s canon regarding Goku’s knowledge of Super Saiyan 4 or Vegeta’s Super Saiyan 3 in Super—have a point.
Continuity issues don’t bother me, as Toriyama has always done in-series retcons since the early days of the original Dragon Ball manga. My issue is how these forms were thrown in for fan service without interesting justification. For example, Toriyama gave Broly a compelling backstory and motivations in Dragon Ball Super: Broly. In contrast, Vegeta’s Super Saiyan 3 and Goku’s Super Saiyan 4 were vaguely explained as, “Majin Buu was tough, so we trained hard off-screen.” I know many fans love Super Saiyan 4 from GT, but I never connected with it. Its inclusion in Daima felt like a mix of pandering to fans and ensuring GT remains non-canon. It felt hollow, despite the well-animated fight scenes, and made the fight scenes around them not quite as exciting as I'd hoped. Even Super Saiyan God and Super Saiyan Blue had more thematic and narrative weight.
The laziness doesn’t stop at Super Saiyan 3 and 4. Toriyama’s subversive, unpredictable storytelling works sometimes, but the only interesting character arc was Glorio’s, with his unexpected development at the end. The main villain, Goma, and how he got the “evil eye” was very underwhelming, especially since it tied into a minor joke character who only briefly mattered for kinda lame jokes.
Smaller issues also stood out. While it was cool to see Piccolo, he was hyped up for part of a fight but barely used, so ended up just existing here for thematic ties to the Namekians’ origins. Supreme Kai's role started strong but didn’t develop much with his kin as I'd like. Bulma did little in the Demon Realm. In general, the second half felt rushed. There was a Ginyu Force ripoff who felt like a waste of time. There was an outline of other demons rebelling against Goma, but with just six more episodes, the world-building could have deepened, the climactic fights could have been more engaging, and the choice of the next demon ruler would have made more sense, as we barely know that character.
Overall, Dragon Ball Daima was a fun but not great show. It was a light, enjoyable adventure, and Toriyama clearly had a blast writing it. The standout moments and fight scenes were great, and the characters, for the most part, had that classic Toriyama charm. However, the rushed second half, with underdeveloped plot points, lame gags for plot progression, lazy fan service, and only one compelling character arc, dampened my enjoyment.
Still, I don’t regret watching it, and I’m glad Toriyama was able to write one final story he clearly enjoyed before his passing. Rest in peace.
Reviewer’s Rating: 8
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Feb 27, 2025
I've been following One Piece for over 15 years now. Sure, I've been on and off, but unlike many long-running series like Attack on Titan and Naruto, which lost their appeal for me over time, One Piece has at least stayed consistently good.
However, the fact that it's only consistently good—but not great—is why it went from potentially being my favorite battle shonen and a top 10 anime to just a very solid but overall exhausting series. I can't watch more than a batch at a time before needing a long break, especially post-time skip.
I know One Piece is often compared to Dragon Ball, but for
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me, the comparison is even stronger when it comes to favorite anime. Despite Dragon Ball being my fan-favorite battle shonen since I was a kid, there was a point in the early 2010s when I actually liked One Piece more. However, later One Piece arcs, along with Dragon Ball Super and Daima airing, have definitely shifted things back toward Dragon Ball for me.
Despite both series being the most popular shonen in Japan, it's funny how different they are in execution. Akira Toriyama is known for keeping things open-ended, allowing him to add lore whenever he wants. This keeps things exciting and the pacing generally good, but it also leads to a lot of retcons and potential plot holes.
Conversely, One Piece by Eiichiro Oda is much more thoughtfully planned out, consistently adding lore that remains important to the series while still being open-ended enough to allow each arc to take the crew to different islands. This structured approach is why One Piece is so beloved. Even though Oda stretched the series far beyond his original intent, he didn’t take Toriyama’s route of keeping things vague for cool twists. Instead, he expanded the story in a way that made past lore more coherent rather than contradicting it.
One of One Piece's biggest strengths—something I sometimes undersell—is how well it keeps its main cast, the Straw Hat Pirates, relevant. Unlike most battle shonen where characters are purely defined by their fighting ability, One Piece ensures even weaker characters have a strong role. The world is designed so that even the strongest fighters have weaknesses—devil fruit users are always vulnerable to seawater, which helps keep power creep in check.
Great battle shonen mix emotional moments with cool fights, and few would argue that One Piece isn’t top-tier in terms of emotional storytelling. Every Straw Hat gets emotional development or a backstory at some point, and even one-off characters sometimes have surprisingly memorable arcs. Oda’s ability to balance fights, emotional storytelling, and well-thought-out world-building is impressive.
Unfortunately, Oda’s willingness to detail everything contributes to the series' biggest flaws: scope creep, length, and especially pacing.
Many criticize the anime for slowing down just before the time skip, but even in the manga, the paneling has become way too busy. There are too many text bubbles per page explaining things. I get that Oda wants his world to be fully realized, but sometimes it bogs down the pacing.
I enjoy well-placed flashbacks, especially in the earlier arcs, but the later ones became way too long. What used to be one- to three-episode flashbacks turned into mini-arcs spanning five to ten episodes. While they’re usually good, they could easily be cut in half and still get the same point across.
Unlike many battle shonen with mediocre time skips, One Piece has kept most of its quality post-time skip. But that came at a cost.
One thing Toriyama does well is keeping arc climaxes unpredictable—Goku doesn’t always get the final blow. Sometimes his son does, sometimes an ally, and sometimes the villain escapes. One Piece, on the other hand, has a predictable arc formula: Luffy finds a way to beat—but not kill—the main villain, leading to a bounty increase, while the rest of the crew gets their “fitting” fights. This was cool for half the series, but even in the latest arcs, it’s getting tiresome.
The length of arcs compounds this issue. Yes, the worlds are cool, the fights are fun, and there are great side characters, but the arcs have become so formulaic and bloated that even when Oda creates unique settings, the structure remains repetitive. After Water 7, the arcs became hit-or-miss, making it a gamble whether a new arc would be great or just okay.
Overall, there's no doubt One Piece has left its mark. When it's good, it's really good—emotional moments, great fights, world-building that rarely contradicts itself, and a cast that stays relevant beyond the protagonist.
But there's a reason people hesitate to recommend it to newcomers. It's just too long for its own good. Even as a long-time fan, I’ve felt burnt out trying to keep up, especially as its formula has become more predictable.
If Oda actually lets Luffy find the One Piece in the 2020s, I’ll be pleasantly surprised. But the longer the series drags on, the more my burnout and slight frustration grow—even though I still genuinely like it.
Reviewer’s Rating: 9
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Feb 26, 2025
The controversy surrounding the recent Higurashi GouSotsu series was amusing to watch because I purposefully chose not to watch them. I’ve always felt that Higurashi is the type of series that shouldn’t have had any side stories or direct sequels that take place after the last episode—because of how conclusive it was.
For those who don’t know, Higurashi Rei was the first set of side stories following the main story of Higurashi and Kai. Episodes 1–8 of the Higurashi visual novel and their anime adaptations (Higurashi Season 1 and Kai, or Season 2) were overall great psychological murder mysteries with a Groundhog Day-like scenario, and the
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way things built up toward the end was excellent—even if the pacing was a bit slow at times.
Higurashi Rei was clearly the first of many attempts to cash in on Higurashi's legacy and squeeze more money out of the franchise. Unfortunately, for the most part, I wasn’t really a fan of these OVAs.
The best way to describe them is that they’re half slice-of-life fan service and half a brand-new side story that focuses on Rika once again.
The slice-of-life segments are more or less what you’d expect from Higurashi—a lot of characters playing games and trolling each other. But this OVA leans more into generic fan service, with some harem teasing for the main male character, Keiichi. These moments are mostly inoffensive, but since I was never super into the slice-of-life aspects of Higurashi, I just found them whatever.
The main selling point of Rei, or its "serious" story arc, is Saikoroshi-hen (Dice Killing Chapter).
Without getting into spoilers, this is a direct sequel to the serious events of Higurashi Kai, where Rika is put in a situation that forces her to reconsider the choices she made regarding fate and everything that was built up in the first two seasons. Essentially, she is given a chance to live in a supposedly "perfect" world—one without all the drama, murder, and suffering. However, this comes at the cost of losing all the camaraderie, sacrifice, and character growth she and the others went through. Rika herself would also be a stranger to many of the people she once knew.
In theory, I like this idea. But in execution, it just felt like a cheap way to bring back drama. Higurashi Kai had a perfect ending for the serious parts of the story, and this side story felt unnecessary—arguably even insulting—by forcing Rika through melodrama again. The entire point of Seasons 1 and 2 was for her to develop beyond this struggle, yet this arc drags her back into it. The fact that the "serious" part of Rei happens because of a convenient mistake on Rika’s part makes it feel like an even bigger slap in the face.
Overall, the plot of Higurashi Rei isn’t a terrible idea—just something that honestly didn’t need to exist in a standalone entry like this. Given how bad nearly every Higurashi spinoff has been, I highly recommend sticking to Higurashi Seasons 1 and 2 by DEEN and/or the main eight chapters of the visual novel. Don’t bother with the spin-offs—unless you want to lose some brain cells.
Reviewer’s Rating: 7
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Feb 26, 2025
The Tales series is probably still my overall favorite JRPG series. I love its mix of action-based combat and surprisingly deep character development. That said, the series has had an interesting history of anime adaptations—from Eternia’s anime-original story to Symphonia just covering its main story beats, Abyss being a mostly solid adaptation, Vesperia acting as a prequel, and Zestiria being a weird mix of adaptation and anime-original content.
Before all the modern adaptations, there was a four-episode OVA of the original Tales game, Phantasia.
The best way I can describe this OVA is… quick fan service. The fight animations are solid, and for the most part, it
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does a decent job of conveying the personalities of the five main characters while providing a general idea of the setting and plot.
The scenes that are included stay faithful to the game, and there are some nice, wholesome character interactions that are fun to see fully voiced and animated—something you wouldn’t get from the original game, which was originally a Super Nintendo title that has only been ported as 2D sprite-based versions and never received a full remake.
You get an idea of what sets Cless and Chester’s journey in motion, some ship-tease moments between Cless and Mint, as well as Chester and Arche, and Klaus being a decent enough "old man" support character. Suzu, though… it’s disappointing that she never got fully recruited in this OVA.
Unfortunately, that’s about all the praise I can give. If you're looking for even a half-decent adaptation of Tales of Phantasia’s story, you won’t find it here.
The episodes jump around so much that unless you’ve already played the game, you’ll probably be confused about how characters get from one event to another. There are massive gaps in the story, and character development happens off-screen between episodes, making it feel disjointed.
For example, every single character recruitment scene for the main party is completely skipped. These moments are crucial for building emotional connections with the characters and understanding why they join the quest, but the OVA doesn’t bother to include them at all.
That said, it’s still cool to see the world in anime form and get a glimpse of Dhaos, the main villain, who helped start the trend of Tales antagonists having "greater good" motives that clash with the heroes. But even then, Dhaos isn’t given nearly as much development or buildup as he had in the game.
At best, this OVA might serve as a teaser to make you want to play Tales of Phantasia. But if you’re hoping for a complete or even decent retelling of the story, you’re out of luck—unless you just want to see some cool fantasy action.
Reviewer’s Rating: 6
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