Back to Cartier117's Profile Cartier117's Profile 14g59

Might be an unpopular take, but they really fumbled Part 2 of this IP. Lots of things were setup well in the first part but simply weren't used or used poorly. It's hard to tell if Aquatope even had an ending, because the content of the final episodes (the wedding) felt more like a minor hurdle rather than a finale that resolved anything.

Part 1 of Aquatope starts off simple, but memorable. "The two girls met in the ruins of ruined dream," as is the premise, where Fuuka abandons being an idol and tries to find new purpose in her life, while the fish obsessed Kukuru ... comes to with leaving behind her favorite childhood aquarium, Gama Gama. While many cliches arise from this setup, it was endearing watching these two cross paths and form a bond over their shared uncertainties of the future. Learning about the fish and the daily routine for aquarium workers was also interesting, as well as the setup they had with the "magical visions" that visitors might see when they visit. The halfway finale felt meaningful in the way it wrapped up that early arc, and one would expect them to build on the foreshadowing that was set up.

Except, they didn't. Almost anything brought up in the first part, from Fuuka's idol past, to Kai's relationship with Kukuru, to Kukuru finding out about her lost twin sister, to Kuuya potentially growing out of his emo stage, to FINDING OUT WHAT THAT ORANGE HAIRED GREMLIN SPIRIT THING WAS.......... you get the idea, none of this was explored in depth or at all. I understand Fuuka not wanting to confront her idol past, but as a MAIN CHARACTER she has extremely little impact in Part 2 and was nothing more than a side character in practice. Literally, the only thing she achieved was becoming good at taking care of penguins and babysitting Kukuru. She technically does something with her life in the last episode, but it's all off screen so we don't really know. In my opinion, that is not the pay off that fans should want to receive after setting her up to be an integral piece to the story early on. The whole "2 girls in a ruined dream" thing is really just 1 girl struggling to find her ion/purpose and the other sorta just mindlessly tagging along and occupying screen time occasionally.

Kukuru also has her problems, although I do believe she had a much better character arc than Fuuka, mainly because there was actual progress and the second half was practically all about her. The problem is less about Kukuru and more about the story of Part 2. Personally, I wanted Kukuru to redeem Gama Gama's loss in some way, either by rebuilding it when she was older or at least working to help some other small aquarium survive and avoid Gama Gama's fate. Either of these two options would tie neatly into the core message of Part I (whether Kukuru succeeded or not), and more importantly it would've given the audience the chance to see her dreams and ambitions finally come true in a tangible, meaningful fashion. Instead, what we got was a young girl becoming entangled in a soulless and horrendously dull corporate web while working in the larger aquarium. She gets stuck in marketing, and the rest of the story is effectively about the bureaucracy and politics of aquariums rather than the "magical element" of Gama Gama had that drawn many viewers in.

This is actually a really good contrast, but the MAIN ISSUE is that Aquatope does absolutely nothing with it. Neither Kukuru nor Fuuka achieve their dreams/goals (if the latter even had one), and the closing message of the story is that it is okay to settle for a corporate position where you are clearly not happy, instead of going out and working on what actually made you ionate about working in aquariums in the first place. Maybe the story was never intended to be a "feel good" story, and I am just rambling here. Maybe the creator wanted to educate the audience about how working in aquariums can be an awful experience despite its good moments, and that this is the reality you face if you want to pursue a similar career. I'm not too certain, but what I do know is that the investment in these 24 episodes was not worth it. Sure, the wedding thing was cute, but hardly a resolution. Maybe if the anime had more time in the form of a Part 3 that addressed some of my qualms (or at least gave a proper ending), then I wouldn't be writing this review. I do think that viewers can enjoy this show for the pretty scenery and unique premise, but if you are looking for profound characters or a meaningful resolution, then this isn't the anime for you.

Came across a volume at the bookstore and thought the art looked really good. To be honest I am surprised by how low the score is on MAL, given that 20 chapters in it has done well what you want a new story to do: introduce the premise, build the world/setting, introduce the characters in a way that isn't overwhelming, etc. Maybe it's a little generic as some critics say, but in this case it manages to feel fresh. I'm someone who has grown out of the target demographic (shonen), but I still feel like there's something here to keep me invested.

I see this manga ... as a better and less edgy Tokyo Ghoul (in of the opening arcs) that includes elements from Kekkai Sensen and Noragami that I enjoyed. The characters are definitely the strongest element of this story, as not only are their designs unique and memorable, but their personalities and development are coherent. Of course, as of now there aren't enough chapters to judge if the character arcs are "good", but so far the foundation for a solid story is here. The art is really well done and the humor is notable as well. The battles are easy to follow and visualize, which has been an issue for me in other shonen manga. I hope this author continues this work for as long as they are able.

This is a spin-off story to Youkoso focusing on Suzune with lots of fan-service (both of the horny and moe variety). While it was enjoyable, at least to me, it isn't a complete product and leaves much to be desired.

This spin-off manga changes the personalities of our main characters, which seems to have offended some of the die-hard fans of this series. I would argue that the changes are not as drastic as some make it out to be, especially with Suzune's character. She is still a socially awkward but intelligent girl with an attitude that desperately wants her brother to notice her (exactly like ... in the main story). The chief difference here is that Suzune is much more expressive and willing to show emotion; she does not have that constant "resting bitch face" nor is she particularly uptight about the smallest things (unless she is speaking to Kushida, which I mean is canonical so...). To me the change makes her more endearing, but to fans who don't care for the cutesy fanservicey stuff, I can see why this change may not be appealing.

The biggest change in character is actually Ayanokouji, who acts as a ing character in this. He is not the edgy and cool mastermind that we are used to but instead acts like a carefree high schooler with a sense of humor that I particularly enjoyed. It gives us as fans the opportunity to see what he might've been like had he had a "normal" childhood and not been a living experiment in the White Room. That stuff might've still happened to him in this timeline, but its less apparent and thus up to our own imaginations. Of course, it is awesome to watch him one-up the other characters in the main story with his big-brained plays, but I also found it humorous that in this he was obsessed with bathhouses and Suzune making him bento boxes.

The primary issue with this manga is that it is way too short (and thus arguably pointless). Many fans (of any series) don't like it when a spin-off changes too much of the plot and setting, but I'm okay with it as long we are given ample time to explore this new world and "get used to it". We only get one real "arc" in this manga, which is Suzune trying to make friends while dealing with some random rumors later in volume 2. This plot-line isn't particularly interesting or well-written, and it more importantly it ends way too abruptly, giving a sour final impression that nothing really happened in the first place. For fans hoping that there would be some romance between Suzune and Ayanokouji, you will greatly disappointed since the manga cuts off just as there is a hint of progress between them.

My final thoughts are that I think many fans would actually enjoy a more "slice of life" version of the story that this manga sorta provides but only scratches the surface with. Maybe add more characters with their own hijinxs and goofy arcs, instead of focusing on just Suzune, and there you have a solid spin-off story that more people would care about. It would give us an opportunity to learn more about each character in the downtime between the main exams, in a way not unlike what the .5 light novels do.

Thanks for reading.

To be frank, I struggle to understand how this show became so popular. Every season there is always that one anime that the masses over-hype and put on a pedestal, insisting that it be given a top 5 spot on MAL. Now typically, shows like Chainsaw Man, Spy x Family, and Oshi no Ko make sense, since they just "feel" like something normies would soak up (not judging per say, just an observation). Frieren doesn't feel like those other titles at all: the writing actually feels vivid and well thought-out, as opposed to a cheap cash grab that many seasonals have become. Frieren better fits ... the "underrated sleeper of the season" cliche that only a few weebs know of, but instead it holds the spotlight.


A seinen disguised as a shonen, Frieren can be described as a "post game" to your favorite isekai or fantasy world, where our heroes have already "won" by beating the final boss. Consequently, much of the story is given to us retroactively via Frieren's memories or in conversations with her former teammates as they on. This format doesn't always work in anime/manga, however in this case it is a very reflective and intimate form of character development for Frieren as she tries to understand her feelings and why humans value time so much. Overall there is a very mature air that slowly cultivates, which makes me further question the "shonen" labeling since younger audiences often do not have the patience for such narratives.

That tangent aside, not only is the story and plot refreshing, the characters are extremely likeable in their own ways. It's rare for me to like every single member of a main cast, however the dynamic between Frieren, Fern and Stark has grown on me with each episode. Maybe it is because I have never seen two earnest teenagers "looking after" a troublesome grandma figure and her selfish hobbies before. Honestly, it's just an endearing quirk in their adventure together. As for the side characters, every one has their clear purpose (no wasted screen time!), and better yet they do not overstay their welcome. The world building as a whole feels profound as these interesting characters come and go, giving the impression that there was, in fact, a past full of intriguing events. As the curtain continues to unfold, it will only add to the significance of these earlier episodes.

In summary, I can't say for sure if you'll like this show, but it is definitely worth trying out at least, since nothing like it exists out there. As others have stated, it doesn't try to be more than it actually is, and more accurately it doesn't try to stand out. I think the humble nature of this story/show is partially what has drawn so many fans to it.

I've never taken part in the incel wars that have plagued the "top anime" section of MAL these past years, but I've always felt that no new-gen anime would ever top FMAB. Frieren, however, might become the one exception that I am okay with taking the mantle, assuming the rest of the story plays out as nicely as it has started.

Thank you for reading, and apologies if this review comes across as too contrarian :)

This quite frankly could've been Kyoto Animation's greatest work had it "stood out" a little more. What I mean is, their other titles like Violet Evergarden, Clannad and K-On had elements to them that made them unique and instant fan favorites. Hibike! Euphonium can easily be described as another CGDCT high school club anime, and because of this I am not surprised that it never became as popular as those other titles.

Despite this, Hibike! is probably the most consistent and well-put-together storyboard/production that Kyoto has produced. The goal of the characters is simply to win gold in their concert preliminary. Such a basic premise might ... sound boring (especially to those who have no attachment to band music), however it makes it easier to flesh out the "meat" of the story and address multiple themes and ideas when the audience can easily follow along. Because of this, Hibike! has surprisingly complex characters and deeply emotional scenes, which is fairly unusual for a seasonal club anime. The last episode is the performance itself (which is typical for performing arts anime), meaning that the viewers do not hear the fruits of the band's labors until the very end. The show paces itself accordingly in the buildup to that moment, and even pulls a full circle moment with the opening and final scenes, which really helps to round out the deeper meaning of this arc. The culmination of the final act is certainly something worth investing in, and there is still plenty to look forward to in season 2.

A show about music naturally needs good music, and I am not just referring to the pieces that the band play. Kyoto knocked it out of the park with this story, as the ambient soundtrack of each scene fit the mood perfectly, and their stunning animation really sold the magical elements of it all. To understand what I mean, you'd have to experience it for yourself (especially the bridge scene!). Considering the year this anime came out, it's honestly criminal how no one speaks about the animation quality (it feels as though it's a 2020s anime). Because of this, I believe that even those who do not particularly enjoy band stuff or high school drama can find themselves lost in the momentum that this series carries in each episode.

Review Ends Here, Character Analysis Below---------------------------------------




Our dual protagonists of Kumiko and Reina are strong overall characters that experience character growth in their own ways, however it's really 3 of the side characters (in my opinion) that molded the stakes and "band drama" to what it needed to be. The first is the band instructor, Noboru Taki, who depending on who you ask could be considered the antagonist of this story. The reason he is such a great character is because he's polarizing: on one hand his mannerism is too crude and alienating, but on the other he genuinely tries to help his students get better by not being too easy on them. This harsh yet meaningful teaching style generates plenty of plot points that effectively allows Hibike! to function as a story. In other words, without the presence of this character, there wouldn't be conflict or plot progression at all.

The other 2 characters are involved in the drama itself, which I will avoid explaining for spoiler reasons. Asuka is integral as a comic relief and mentor figure from the perspective of the protagonist, however we later learn that the reason she is so relaxed is because there is a little spite to her carefree attitude. This reflects how the drama was negatively impacting the mental fortitude of the band , to the point where they'd rather not address it but dance around it instead. This "elephant in the room" weighs heavily on the atmosphere of select scenes, and overall the tension building was pretty remarkable from a cinematic standpoint.

Natsuki is the final character I will mention, because unlike Asuka who grows detached from the petty politics of the band, Natsuki finds herself motivated to jump back in. She isn't initially interested in reaching gold or even practicing in general, but soon finds herself mesmerized by the younger ' zeal. While she doesn't achieve all that she wishes to, it is nice to see the actions of the main cast having a positive impact on who find themselves on the periphery between "caring" and "not caring". While other characters in the band also go through this, Natsuki stands out because the unofficial "older sister" dynamic she has with Kumiko and the other first year brass players. Despite being a minor character, Natsuki's own little character development helps to enrich the entire narrative, primarily through her actions and not through words.

I listened to the audio-book, which currently has six volumes out and is narrated by Lena's VA in addition to others. In of their performance, they did a great job and I would recommend it to those who like this light novel.

I definitely think that the anime medium is a far better way to tell this story, largely due to the fact that we can visualize the epic battles more clearly (and their stakes), as well as the legendary Sawano soundtrack. It also adds a little bit extra that shapes the ing cast, which is necessary as the light novels only seem concerned with ... Lena and Shin's development (if you can even call it development :/).

In of the author's writing style, it's irritating because its engaging but a slog to get through. She brings up very interesting moral dilemmas (usually tied with a sci-fi theme, such as converting dead soldiers' minds into ai fighters), and typically that is the most interesting and engaging component of each volume's arc. Characters like Uncle Jerome and later Vika are especially interesting because they serve as a necessary foil to Lena's idealism and overall are very complex characters. However, at the same time the author uses the same internal-struggles and character-arcs over and over again in her volumes, giving the impression that her characters aren't actually improving (or at least changing), despite claiming otherwise.

I wanted to like Lena, but she is an example of the most annoying form of SJW you could have. She insists on embracing a savior complex and freeing the 86 from what is effectively institutional racism. She continues to do this even when the 86 ask her not to act on their behalf repeatedly, and instead perseveres anyway to solidify some sort of moral high ground that not even she understands. To add to the ridiculousness of this, she is always baffled and upset in EVERY. SINGLE. VOLUME. when the 86 don't want to talk to her or open up because of her oppressive savior complex, and despite promising to change her demeanor constantly, she never actually does. To the light novel's credit, it actually touches on this point briefly, and Lena does reflect on her hypocritical nature. However, that plot point doesn't go anywhere, and is instead replaced in later volumes with Shin's cumbersome personal journey that takes up the entire volume.

Shin isn't as much of an issue to me as Lena is. Yeah he's extremely edgy and refuses to progress as a character, but given his effed up background I'll give him a . Obviously, trauma isn't something that is healed over night, and given Shin's circumstances it probably never will be. I only wish that the author didn't try to remind us in every other chapter that he and the other 86 are battle-hardened combat veterans that want to stay on the field no matter what the outside world thinks of them, because this is the only life they know and that it is their purpose in existing. It's badass and cutthroat and sexy and all, but for ffs we get it already. Move on to something else!

That brings me to my final major critique, which is really a summary of everything that's already in this review. As established, the writing style of the author is very long-winded and repetitive, and what that means is she doesn't have the time or space to develop any other characters that aren't Lena or Shin. Sure, some characters like Anjou, Raiden and Frederica have their moments, but their impact is typically restricted to a chapter per volume, and that's being generous. I think that's unfortunate because 86 has very strong world-building and has the opportunity to be a profound science-fiction story. Not to mention the "mecha genre revival" that it is effectively spearheading in the 2020s (pun intended). I see the potential in this IP as not only a modern sci-fi staple but also as a comprehensive commentary on select social and psychological issues. It's just that, in my opinion, the author's writing skills are holding this story back. I hope to see more seasons to the anime and what they can accomplish with this template.

The best way to describe Kumichou is that it had all the necessary ingredients to make an excellent pastry, but it was never prepared or baked properly, and instead was left unfinished on the kitchen counter. The seasonal model of 12 eps has once again butchered an excellent show, because it was obvious that there simply was not enough time to flesh out everything. It's a shame because this story, while simple in its premise, had the of a studio(s) that clearly cared about their craft. If the source material was more plentiful, and if more ment went into this title, it could have ... easily become one of the most popular anime of the year. A second season is not only desired by its fans, but necessary to do the story justice.

------------------------------------------------------------------------------------------------------------------
What this anime DOES have:
- Complex and likable protagonist (in the sense that you can root for his character development despite his flaws)
- Wholesome and cute (moe) moments, as d (hence the comedy is also strong)
- Soothing soundtrack that matches the slice-of-life feeling well (on par with stuff like Fruits Basket or Yuru Camp)
- Consistent and pretty animation that might appear a little generic but still retains its own style
- Amazing dub performance from everyone (especially the protag), for those who are not sub elitists
- The basic schematic of an interesting and complex premise (see below)

What this anime DOES NOT have:
- Proper pacing (the biggest problem; everything in this show felt rushed: character relationships, introductions, exposition, character arcs, climax, you name it). The fact that ep 3 or 4 was a throw-away filler for some reason does not help at all
- Proper order (sometimes it feels like the events of the anime are out of order, but maybe that's just me)
- Fully fleshed out Yakuza family dynamic (there is SO much more they can do with this, the potential is there)
- Expansion of side characters' personal arcs like Kei and Aoi (they were surprisingly interesting and not entirely cliche)
- Clear purpose for random characters like the cat and the hungry girl who are just kinda... there (for only like 1-2 episodes!)
- Proper antagonists (they come across as one-dimensional; except Yuuri, but his purpose in the show was never fully depicted)
- An ending (the studio sorta hinted at the potential for a sequel, but it has not been confirmed)


In summary, this title seems to be a case where an animation studio was prepared to take the next step forward but was restricted by the lack of source material and weakness of the manga (a testament to this is that the anime has a higher score than the manga, which is pretty rare). I do recommend this to people who enjoy moe, slice of life stuff, however do not expect it to be a complete or robust story.

As someone who watched the original back in the day and has rewatched it since, I believe that this reboot is better in basically every single category. If there is any weakness or criticism to be had about RK 2023, it's from the cookie-cutter storyline and not the adaption. Lindenfilms is doing a great job with this. It's a shame oldheads are weighing the score down over petty shit, because if the reboot doesn't do well enough in its first season then we might not get the latter manga arcs adapted after all.

--------------------------------------------------------------

MUSIC: I'm honestly surprised people enjoyed Freckles and the other OPs as standalone ... songs, but I guess that's just preference. In any case, the arguments that the new OP and soundtrack doesn't fit RK are absolutely insane to me. Not saying its a genre I'd listen to on the daily, but the new OP matches RK waaaaaaaay better than Freckles. It's not even close. I do, however, miss the old EDs but it's fine to try out new genres.

ANIMATION: As expected, the newer anime has better animation quality. If you are a fan of that "90s feel" or whatever, understand that any new reboot of old shows was never going to have the exact same style. A successful reboot SHOULD bring in its own style and not just be a clone of the original. I did not think that the old style was bad by any means, but this new style is pleasing to look at and I welcome the change. Again, preference. Maybe people were expecting JJK or Demon Slayer levels of animation, but unfortunately RK does not have the same amount of clout so there was no realistic avenue to more funding and hype.

STORY (PACING): We are only 11 episodes in (at the time of this review), however it's already been made clear that the pacing is astronomically better. No filler, absurdly long recaps, conversations that take up half the episode, pointless screen time, etc. The story itself remains engaging thanks to this increased tempo, because although RK employs many shonen cliches (which were fairly new in the 90s ittedly) it is not done in a cringey manner.

CHARACTERS: I found Kaoru and Yahiko to be pointless and annoying characters in the original. That might still be the case once the reboot reaches the departure arc, but as of right now I can say that they've successful toned down the annoying aspects of these characters. I can only hope that they fix Misao as well when she appears (please!). The other characters were fine in the original, and are even better here.

COMEDY: Some say the comedic bits have been toned down, others say it hasn't. Personally I haven't seen a difference, and think that the reboot strikes a good balance between "serious" and "funny," just like Kenshin's split personality.

VOICE ACTING: Older fans were saddened that Kenshin's original VA did not come back, and I can understand where they are coming from. However, it's been roughly 30 years, and life outside anime happens. Both the old and new VAs were strong casting decisions, and I could go for either one.

Thank you for reading.

TLDR: Overall, this is a must watch for anyone who enjoys 1) Watanabe's work, 2) Samurai/Historical pieces, 3)stellar combat animation (for its time), or 4) unique shows that truly don't have any clones. I really wish this studio did not go bankrupt, because they really crafted a gem with this one.

This is perhaps the first episodic anime (that I've seen) that actually works in this format. Supplemented by the impeccable hip hop and low-fi soundtrack (which might honestly be the greatest OST I've listened to) and a simple yet meticulous art style that is very similar to Avatar the Last Airbender, we get a daring ... story of a 15 year old girl who enlists the help of two wandering samurai as her bodyguards as she travels Tokugawa Japan. It's rare for every single main character of a show to catch my attention, but all three here have very distinct and memorable personalities. There are other notable side characters that leave impressions, but because they typically do not show up beyond a single episode, this is without a doubt a story that revolves around the three main characters.

The world of Samurai Champloo is very rugged and unforgiving, so naturally the characters are molded from this backdrop. Mugen is an audacious character who takes what he wants when he wants it, regardless of who he hurts in the process. Jin is more tempered and respectful, but like Mugen does not hesitate to give in to carnal desires as is the norm for the time. Fuu is purposely less forceful and more comionate (to reflect her naivety), but even she acknowledges that concepts like murder, theft etc. are commonplace and doesn't condemn them. Consequently, this show isn't about solving the injustices of the world or anything grand like that; instead it is about a group of strangers who are simply living day to day.

The synergy within the trio is perhaps the greatest reason to pick up this show. I never really felt like the main cast of Cowboy Bebop (the show which SC is compared to all the time) actually grew accustomed to one another or developed as characters over time. The trio here actually show signs of change, which helps to keep the episodic style fresh. It is also thanks to the stark differences in personality that the trio have that makes comedic bits work really well: from Mugen and Jin ignoring Fuu's lectures and nags, to them trying to ditch her more than once as a joke, to Mugen's tendency to get cockblocked by different women repeatedly despite the red flags, etc. The sense of humor that this show employs is a style that is not seen often in modern anime, if at all.

If I had to voice one complaint of Samurai Champloo, it would be its liberties with historical accuracy. Now, by the end of this show I realized that they weren't trying to hide the fact that they were making shit up and were instead having fun with it. However, early on the show felt much more "serious". I noticed how beat boxing samurai and advanced pistols were subtly popping up in Edo Japan, until eventually they were trying to gaslight us into a false timeline entirely with baseball (it was funny though!). While I enjoyed these gags overall, I much preferred when SC served as a commentary on how shitty it really was to live during this time period, and in addition scenes like the one in episode 14 (iykyk) were such masterpieces that I wanted to see more of them. Seriously, I could make an entire review on just that one single scene.

Thank you for reading.

This show is very unenjoyable to watch (outside of a few comedic bits). But, to be fair, that is sort of the point.

From my perspective, what seems like a "self-help" anime for those with suicidal thoughts and depression, the nature of this show (and its outcome) could easily have the complete opposite effect if the viewer is not in the right mental state. This is because, despite a fairly (good?) ending to the story, the pessimism and nihilism HEAVILY outweigh the hope and optimism.

This paragraph will address those who really enjoyed this anime and may even call it a masterpiece. You are of course ... entitled to your own opinions and might have good reasons for liking this anime. Needless to say I do not feel the same way, but I can acknowledge that people experience life differently. However, if you are someone who "resonates" with the protagonist's struggles or find the overall show relatable to a significant degree, then its likely that you are not in a good headspace and are not living a healthy lifestyle (whether or not it's your "fault", I am not judging here). I sincerely hope you find the help you need, because as far as society goes it is alarming how many people back in 2006 felt in touch with this. I can only imagine how much worse its gotten in the 2020s.

Moving on, every significant character in this show is heavily flawed, to the point where it would not be rude to call them mentally unstable. Satou the protagonist seems to do okay some episodes in of progressing as a functioning member of society, only to have significant drawbacks where he openly reveals his ugly side. It is very difficult to defend him from a moral standpoint because he does some pretty shitty stuff and never redeems himself (nor is he punished!), but I can partially excuse his character because it's clear that he needs serious mental help and is not meant to be someone who viewers should idolize.

It doesn't help that the people around him are also mentally unstable. Misaki, who is propped up to the be the "guide" or even "savior" of Satou early on, turns out to be in (arguably) a much worse state. She its to seeing Satou as inferior to her and using him to feel better about herself. She might not have meant to act toxic, however her parasitic relationship with Satou is a point of concern that only intensifies as the series progresses. In fact, rather than helping Satou overcome his NEET life, she undeniably makes his mental and emotional state much MUCH worse by only adding to his issues rather than solving any.

Hitomi, another unstable girl in Satou's life, also wrings him around in order to fullfill her own selfish desires and whims. She ends up using Satou as a crutch for her own issues, knowing full well that this crutch was on the verge of shattering. Hitomi was such a bad influence that not only did she try to kill herself, she coerced him into thinking along similar dark thoughts, and once he started (about mid-season) he never "recovered" and the Satou from the early episodes was effectively dead. Point is, the women in Satou's life are clearly a detriment to him, yet the story seemed to imply that a romantic relationship would magically fix his problems in the long run. Contrary to what the otaku community seems to think, waifus (real or fake) are not necessarily a remedy for insanity.

In conclusion, defenders of this show might argue that this is a "realistic" portrayal of human interaction and society as a whole, and that fact makes this anime an important staple of mid-2000s culture (and beyond). I can sort of understand that logic, but just because something is "realistic" does not necessarily mean that it is well-crafted. IF, and I mean IF, this anime intended to motivate those dissatisfied with their lives to change their habits for the better, then I could at least leave this show saying that it was a positive social commentary or something. Instead, the resolution of this story is painfully bleak, with any sparse words of encouragement drowned out by existential nihilism and Evangelion-type craziness. This show ends up resembling an auto-obituary of sorts, with the author hinting at what went wrong with his life without offering up any potential solutions. This "giving up," in my opinion, helps no one.

Thanks for reading, and apologies if my viewpoint is tough to swallow. Yeah, the score of 1 is probably too harsh, but it is matched with "Appalling" on MAL, which is basically what I'm feeling right now.