Final Thoughts – Run With the Wind

Definitely one of the best in its class.

Run With the Wind initially seems like a pretty obvious show to make in this day and age – sports stories starring hot guys are very in – but is kind of surprising in a few ways, starting with its source material. It’s not based on a light novel, like Free!, or a manga, like Haikyuu!, but instead a singular, normal-length novel published over a decade ago. (It was later adapted into a manga, for the record, which was concluded in 2009.) Having a finite work with an already-plotted beginning, middle, and end works wonders for the pacing – I tore through this show in three days – and, bonus, means that this is a finished story. There won’t be a sequel – we get the whole thing in one go, and that’s honestly satisfying in and of itself.

It’s also set at a college, not a high school, which is always fine by me – having seen so many of these works set in high school, the idea of following characters with more freedom and capacity is novel by itself, and it also solves the problem I sometimes have with the dramatic weight placed on things like a third-year’s final tournament – in a show like Yowamushi Pedal, the graduates could (and do) just move on to competing in college and starting from the bottom, but for our secondary protagonist Haiji, this is his last year of school. He’s not at the level of being an Olympian, so this really is it for him, and it gives extra meaning to his desperation to get a group together to run the world’s most grueling race.

Background: The race depicted, the Hakone Ekiden, is real, and it’s so brutal that it ends a lot of runners’ careers before they even reach the finish line. But it’s also the pinnacle of college-level track, and something many aspire to participate in, and so Haiji gathers up our cast of underdogs and sets off to whip nine newbies and one disgraced prodigy into a team fit to take on the champions.

What follows is a gorgeously-produced and very honest depiction of the sport of cross country running. Comparisons to Yowamushi Pedal are apt – Run With the Wind does not shy away from just how much of a task it is to get a normal person ready to run a 20k, and what kind of toll it takes on people.

But that plays pretty well to its advantage, too – we become more invested as we watch the characters train, and improve, and suffer, in order to achieve this singular goal. We get to watch their motivations develop into a team mentality – some of these characters have been living together for years, others are complete strangers – and ultimately form into a band of brothers.

All of this positive buildup probably leads you to think that I’m about to give Run With the Wind a perfect score, but unfortunately, there are elements that detracted enough from the experience that I can’t leave them aside. A few members of the team never quite actualize into memorable individuals – two of them are identical twins with a crush on the same girl, and it’s not until late in the game that the show commits to having them interact with other people individually to try and differentiate them, and even after 23 episodes, I absolutely could not tell them apart. Another – the glasses-wearing Yuki – never manages to develop a subplot, merely having him act against the optimistic Haiji for the first half of the show before he gives in and fights for the team’s goal.

My other big issue involves a bit of a spoiler, but in shows like this, it’s usually pretty obvious that we’ll get to see the team make it into The Big Tournament, so I don’t count it as too much of a spoiler that yes, Kansei does get to run the Ekiden over the final few episodes. My issue comes with a major adaptational change – the protagonist in the novel is Haiji, but the protagonist in the anime is the previously-mentioned prodigy Kakeru. Reframing him as the the hero works just fine, right up until the end, where the dramatic buildup of the race fizzles, because Haiji is the character who runs the final leg of the race. From a screenwriting perspective, this was the wrong choice – despite Kakeru being the main character we’ve followed the whole time, his character arc concludes before the deuteragonist’s, downplaying its importance because it doesn’t come last. When they changed the point of view character, the race should have been changed so that Kakeru ran the final dash to the finish against the reigning champion – it would have been similar to Yowamushi Pedal, but I still think it would have been better than not following through on the biggest change from the source material. As it stands, the end of the race is a little underwhelming.

That being said, the epilogue is satisfying enough of a finale that I’m more than willing to give Run With the Wind a 9/10 and a strong recommendation to everyone.

Also, it has SUCH A GOOD BOY.

Final Thoughts – That Time I Got Reincarned as a Slime

Thanks, I hate it!

Time for another long post full of thoughts.

For the majority of its run, I was totally prepared to give Slime a solid 7/10. While the show is entertaining and the production is spirited (…to start, anyway), it still falls victim to basically all of its genre’s worst habits. If the ending had been good, I would have probably bumped that up to an 8.

That changed right around episode 20, when it became clear that That Time I Got Reincarnated as a Slime wasn’t sure where it was going for the finale and veered very, very far off track, leading to one of the most downright insulting last episodes I’ve ever seen.

But I’ll get to that.

Now, since people seem to have mistaken Slime for anything even remotely unusual for the isekai format, I’d like to dispel that idea.

Let’s look at our protagonist, Rimuru Tempest.

Is it interesting that Rimuru is actually a slime? Oh, sure, and it makes for some pretty great comedy, but that’s not really the right question. The right question is: does it ever matter that Rimuru is a slime? The answer is yes, but it literally only ever benefits him, and he is never once held back by the limitations of being a monster.

Rimuru Tempest is almost a parody of Kirito-style heroes, because he is so hilariously overpowered that pretty much nothing can ever touch him, and he outclasses the majority of the creatures he meets by the third episode. The problem is that unlike, say, Saitama, Rimuru is a happy-go-lucky hero who is completely infallible and goes through absolutely no character development – he is exactly the same character in the final episode as he is in the first.

He has infectious energy and is very likeable, but being likeable does not make it okay for him to completely lay waste to all of the narrative stakes.

And not only doesn’t he ever make a wrong decision or face any consequences, but his attitude of complete and immediate forgiveness of all wrongdoing against him (ironically making him more Christ-like than Kazuto Jesus Kirigaya himself) mean that not a single other character really ever has to face consequences, either. The only character that he ever kills outright literally couldn’t be stopped any other way because the villain had manipulated him, and while eating him, Rimuru explicitly tells him that he’s devouring his sins, too, allowing him to rest entirely in peace. All other villains are instantly forgiven and given offers of friendship.

At least the ones whose plots are actually resolved Sorry, we’re getting there.

The series just runs along neatly, introducing fun new characters and leaving them in the background shortly afterwards, up until the last four episodes, where Rimuru completely ditches the town he spent the whole series building to go be a teacher to his friend’s former students and save them from exploding because they have too much magic.

The story essentially pulls a soft reboot, four episodes before it ends.

This final arc would maybe have been okay in a longer-running show as something that happened in the middle, but it is neither of those things, and thus it becomes a complete waste of time – all sense of escalation and stakes are dropped entirely, and the villains of the show don’t show up again until the stinger of the final episode. After four episodes spent playing Hogwarts professor, the show just…ends. Like, it just stops right in the middle of the plot, with absolutely no satisfaction of any kind – we don’t even know who the show’s actual villains are, and the show cuts off at least one episode short of a normal runtime to make room for side story episodes…

But that’s not even the worst thing.

No, the worst thing is the two consecutive montages that take up most of the last half, the first one a flashback and the second a window into what’s been happening in the city. Rather than doing proper setup for a future followup, the show wastes its audience’s time with a sad-final-episode insert song clip montage that isn’t even sad because not a single sad thing has happened.

It’s one of the worst finales I’ve ever seen, and while it isn’t quite as disappointing as KADO, it is most certainly insulting enough to drag this show’s score down significantly, all the way down to…

A 5/10. Yes, I’m prepared to defend that. What a massive disappointment.

Final Thoughts – Rising of the Shield Hero

Wow, I was pretty okay with this one for like a good half hour before it became The Worst.

It’s interesting that three different high-profile and long-form isekai shows are airing at the same time this season, and this is definitely the one that goes for the edgy suffering angle most, though it’s doing so in a very poorly conscious manner. (It’s literally mentioned in this first double-length episode that the highest crime in the fantasy world is rape, though this is unfortunately explained in a situation in which the woman coming forward is very maliciously lying about it, so what a perfect show to air at the height of scandals like #KickVic!)

Which is a shame, because the straightforward concept was going alright for at least the first half of this premiere. I like the idea of an isekai hero who has a lot to overcome to even be at a baseline of power, without it being because of some stupid contrivance where his power cancels out everyone else’s or something dumb like that, but unfortunately after The Worst Thing That Could Happen, he rather immediately goes from Nice Guy Seeking Girlfriend to Edgy Antihero Threatening Merchants, which carries so much awful social connotation that I can’t see straight, but let me just say that the Red Pill crowd is really gonna embrace this one.

The more I think about this one, the angrier I get, and the fact that it is the single most popular show of the season (above even Mob Psycho 100 II) with an 8.5 rating on MAL and utterly wasting the talents of Kevin Penkin only motivates me more to give it my very first 1/10 of the year.

Premiere Impressions – Boogiepop and Others

I’ll start by saying that, like many people, I’ve never seen Boogiepop Phantom, but I’m well aware of its reputation and have certainly heard a lot about it. Having not seen the previous adaptation, I can’t say how Others is doing in comparison, but the thing that I can compare it to is the very slow-burning premiere episode of Serial Experiments Lain, which is a bit more imaginative but otherwise carries a similar moody atmosphere.

They were also similarly confusing! It’s not enough to make me want to drop it, but the end of the episode left me seriously wondering what had happened in the last act – Boogiepop appears to tell the main character that apparently someone else took care of the monster hiding in the school, so he doesn’t need to be around anymore, but we don’t get a confirmation on the identity of the beast or who killed it, which I suppose will be the big mystery going forward, but it did come a little out of nowhere. I simply felt like the situation could have been visually explained a little better, even if the characters are in the dark about it.

What may actually end up doing this show in for me is the lazy production work – if a character isn’t important to a scene, they will not have a face or move at all, and the movement we do see is as minimal as possible. This is a damn Madhouse production with direction from Shingo Natsume, the man behind the first season of One Punch Man and both seasons of Space Dandy, the two best-looking TV anime ever created, so I have absolutely no idea why it looks more like it came from Studio Deen or something, Was ACCA a better indication of what he can really get out of his people?

The audience for this one seems to not have much patience for it, so time will tell if I wind up keeping it in my watchlist, but for now, I’m willing to tolerate it given that I just dropped three shows in a row that I liked a lot less.

Premiere Impressions – Karakuri Circus

Quite a stylish premiere from a studio without much to its name.

From the same author and production team as Ushio & Tora, we have the story of an orphan boy running away to the circus, and it gets way more complicated and violent from there. See, there are these men in suits chasing him relentlessly, and it seems like literally nothing will stop them. His only protector at first is a man in a bear mascot costume who knows martial arts, but also can die if he goes long enough without making someone laugh, followed by a woman in a yellow bodysuit who claims to have known him years ago.

It’s all pretty wacky, but it’s presented with a fascinating tone of complete seriousness that manages to sell it anyway. This one will run for three cours, completely unpromoted by Amazon, so do yourself a favor and check it out.

Premiere Impressions – Sword Art Online: Alicization

Thanks to the double-length of this premiere and the fact that I’m not expecting much out of this but am choosing to watch it simply because I’m afraid I’ll be out of the loop if I don’t…I’m gonna compile my thoughts here in order as I watch.

* Sword Art Online does not deserve to look this good. The production has improved dramatically from SAO2.

* They’re really taking advantage of this double-runtime, because the first scene is boring and goes on forever, and basically consists of an extended infodump of the grand tradition of this series being awful at delivering exposition.

* Kirito displays far more personality in the first ten minutes of this episode than he has in the last forty. I also like child!Kirito’s costume design.

* I understand the need to establish that we are in a strange and unfamiliar universe, but the characters drop way too much jargon in the first quarter of the episode for me to remember, and nearly all of the Proper Nouns are presented without context, so they’re pretty much meaningless.

* About twenty minutes in, I realized that the director must have changed, and Tomohiko Itou has been replaced by Manabu Ono, most recently responsible for The Asterisk War and The Irregular at Magic High School, which is…unfortunate, though they are both pretty much slaves to source material anyway (which is why Itou’s best work was done with shows like Silver Spoon or Death Note). This might have something to do with the ridiculous and terribly unnecessary 52-episode length of this season, since Itou directed Ordinal Scale last year, so I can’t imagine A-1 wanted to just drop him from the franchise.

* I’m not sure why Ono appears to be very fond of shots of characters’ shoes, but the same exact angle has been used four times in the first half of this episode alone.

* Of course, within thirty seconds of our first sight of Sinon, she gets a crotch shot. Klein cannot save this scene. Also, as cool as Asuna’s GGO outfit is, it seems even less practical than Sinon’s.

* There’s a composited action shot essentially recycled from the Ignite opening of the previous season, and the background still looks just as fake as the characters float over it.

* I’m still confused over the benefits of PKing in Gun Gale Online – do you get everything the other person owns? Nobody would ever play this game.

* We’ve already got a cafe scene! Though, given that it involves every major character and not just two people infodumping at each other, this one isn’t quite so bad.

* I had already heard about the blatant, disbelief-shattering ad for Fatal Bullet, but I’m disappointed that the scriptwriter didn’t (or wasn’t allowed to) mention the Squad Jam from Gun Gale Online Alternative, especially since there’s an acknowledgement of the events of Ordinal Scale.

* Why the hell is Sinon visiting her attempted rapist in the hospital like they’re still friends? We could have just never mentioned Shinkawa ever again and the script would not have suffered for it because the audience should not care about what happened to him after his arrest; girls should not be friends with dudes who tried to murder them.

* Now that I’m thinking about it, why are we playing GGO? DIdn’t we establish that switching between games resets your character?

* It’s hilarious that Sinon teases Kirito about the possibility of him cheating on Asuna when she is by far the girl who has gotten the closest to him out of the Rejected Waifu Club.

* The stupid Fluctlight thing seems to be an attempt by Kawahara to reclaim the original central theme of the story (that real life and virtual life can be blurred together and can be equally important), but it’s so ridiculous for a show like this to suddenly declare that the human soul is scienceable that it just comes across as being really clumsy and easy to screw up. I do think that the element of accelerated time perception is an interesting one, though, and would actually be great in real life – being able to play a game for hours, while only a few minutes have actually gone by.

* I will also point out that right after the bar scene I gave a pass to, we get a second one that I do not give a pass to, for the exact reason I mentioned – it’s just three characters dumping exposition at each other. Kawahara is really, really bad about this, and these two scenes together comprise almost fifteen minutes of runtime.

* Asuna still refers to Heathcliff/Kayaba as “the commander”, which is still dumb. He is personally responsible for as many deaths as happened in real life on 9/11, and should not be treated with any respect by anyone at this point.

* Kawahara still defaults to villains who are comically insane, though I suppose that this one is still pretty much just the leftover Death Gun who we knew was insane, so this isn’t quite as poor a decision as it could be.

And that’s it! I admit that I didn’t hate the overall episode and, after watching it, I get why this needed to happen all in one sitting, but the frustration mostly comes from the fact that Kawahara is a bad author who doesn’t learn from his mistakes. The first half was quite a bit stronger than the second, if only because of the inherent mystery of Underworld, and the second half is a whirlwind of Kawahara’s worst habits as a writer.

That being said, because Alicization will be the longest show I’ve covered on this blog, I’ll be writing an Updated Impressions post on it every six weeks or so, just to force myself to keep up with it (because if I fall more than ten episodes behind, I know for sure that I’m gonna give up on it).

Here’s to an entire year of this…

Final Thoughts – Radiant

Haven’t we been here before?

Radiant is not particularly bad, there are quite a few things that actually work in its favor, but it is almost painfully generic as a shounen series. See, I get the feeling that this was confirmed to air in October because Black Clover was meant to finish last month, but then it was announced to continue indefinitely and now Radiant is just kind of stuck here being almost the same show, just with a more tolerable protagonist.

Unfortunately, tolerable doesn’t necessarily mean that I want to watch him for 21 episodes, because our hero Seth is basically just a carbon copy of Luffy, and if I wanted to watch One Piece, I’d be watching One Piece. Radiant is the story of a put-upon young boy apprenticing under a renowned person of the show’s theme (there, pirates, here, magic) and how in order to prove himself he steals something from his mentor and takes it farther than he can handle. It’s not a bad setup, but it’s just so much like everything I’ve seen before that I don’t have the interest (or the time) to watch it all again.

I do want to compliment the art design, though. It’s a well-animated show (I really like Studio Lerche, in addition to having made my personal favorite anime, they just seem like they put a lot of effort into projects that aren’t really deserving of it, like Classroom of the Elite). The bright aesthetic and set design are both awesome, and overall this is just a very well-produced premiere.

But there are simply too many other things to watch this season to spend my time on it.

MAL lists a 5/10 score as “average”, and I think that suits Radiant pretty nicely.

Premiere Impressions – Hinomaru Sumo

A very effective prologue for the tale of a sport that hasn’t gotten its due in a long time.

The setup here is nothing new, but as always, it’s all in the execution. A good sports show needs three things at the beginning.

1) A likeable protagonist. (This is where I feel that Ace of Diamond fails out of the gate.) Hinomaru falls squarely into the time-honored hot blooded redhead archetype, and honestly, it’s not broken, so why fix it?

2) An established rival. Here we have a squad of delinquents with a silver-haired leader who loses badly to Hinomaru and will inevitably come back to challenge him again, even if he joins the team.

3) A twist. Hinomaru shares one with Haikyu’s Hinata; they’re both very short, but Hinomaru is literally too short to be considered for professional sumo, so he has a hurdle to overcome by proving himself.

I’m happy to say that not only does Hinomaru check all three boxes, it’s also already been confirmed for a full two-cour runtime, meaning we should hopefully get enough time for a satisfying and inevitable tournament arc with some sort of resolution. Because of the subject, Hinomaru Sumo is inevitably going to be under-watched outside Japan, but I’m here to say that missing it would be a lot of wasted fun.