Tag: anime

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Let’s Watch SPY X FAMILY Episode 25 – “First Contact” (SEASON FINALE)

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Spy x Family is, first and foremost, a slice of life series. Its focus is on comedy and on character interactions. Anything more serious is a secondary concern, at the end of the day. But! The fact that it does have a plot at all still puts it in a rather different space narratively than, say, something like Do It Yourself!! or BOCCHI THE ROCK!, to provide two examples from this very season. Things eventually circle back around to that narrative core. That’s where episodes like “First Contact” come from; they are quiet, slow, and subtle affairs, but they’re not boring. Indeed, the entire second half of this episode is ridiculously tense. Moreso than any scene since the bit with the bomb dogs back in the earlier parts of this cour. Through it all, Spy x Family makes things look effortless, not unlike Loid himself.

Speaking of Loid, he’s mostly the main character in this episode, which we get a demonstration of right off the bat in a scene where he’s snooping around Eden Academy’s school grounds just prior to a staff-and-parents meetup and creates a mental map of them in his head (complete with a cool wireframe effect.) But the first half actually focuses on Anya, who we should take note of as well.

It feels safe to say that Anya, with her bottomless well of silly reaction faces, general adorability, and strong design, is Spy x Family‘s most popular character by a decent margin. There’s also her charming dynamic with Damian, whose ongoing inner struggles to win the approval of his father have remained one of this cour’s more compelling subplots. It’s brought to the forefront here, and Anya, perhaps surprisingly, helps with that, scheming as she does to help her father by “meeting the evil boss” (recall that this’d be Damian’s father Donovan, Loid’s target). This launches a miniature web of half-misunderstandings and concealments, a spin on the classic “stupid people keeping obvious secrets from each other” school of comedic setups.

To wit; Anya’s great ploy to give Damian the confidence to confront his father directly is to proudly proclaim that she trusts her papa, which she demonstrates by saying she even shows him her “bad tests” and such. Anya’s conversational through-line here is shaky enough that she even confuses herself, ending this little pep talk with a flat “what we were talking about, again?” I have to admit, it got a genuine out-loud laugh out of me.

Loid’s plan, meanwhile, is to engineer a situation where he can talk to Donovan directly, using Anya punching Damian dead in his face way back in episode six as a pretext. It’s just one part of a fairly complicated scheme where Loid plants a fake sheep keychain, banks on Damian’s better nature to pick it up and hang onto it, “happens” to stumble over to Damian and his friends while “looking” for it, takes it back, and then attempts to build a rapport with Donovan by apologizing to him for Anya’s behavior. (Damian is only even meeting up with his father because he called his older brother Demetrius to ask him about it. And Loid only knows that because Anya read Damian’s mind and then happened to blab about it while he overheard. Quite a web being weaved here.) Loid is on the ball throughout, and while it’s no great feat to pull the wool over a group of kids’ eyes, Donovan himself is a very different story.

In general, Donovan Desmond (Takaya Hashi) is a grimly charismatic character, around whom the show actively warps. The background music shifts into an upright, militaristic march (and later, lead-heavy piano work). The man himself has eyes as big as headlights and is surrounded by a clutch of black-suited bodyguards, and the show’s art noticeably sharpens slightly in his presence. Every cue is crystal clear; Donovan Desmond is not a man to be fucked with.

Yet, fuck with him is exactly what Loid Forger does. In particular, I love the visual that pops up when Loid slides into the conversation, knowingly interrupting Damian’s rare meeting with his father. A literal idea web pops up, a giving us a very visual peek into Loid’s mind as he actively calculates the best way to get a foothold—any kind of foothold—with Donovan.

He does succeed, but the entire conversation is tense as hell. Again, probably the tensest moment in the series in nearly an entire cour. It’s cut by only a tiny bit of levity when Damian, in the midst of Loid’s prodding, confesses that he’d like to be friends with Anya. Cute!

Don’t feel bad for Damain about his meeting with his dad being interrupted, either. After Loid departs, both his and Anya’s earlier encouragement actually inspire Damian to tell his dad about what he’s been up to. In response, all he really gets is a “well done,” but for a boy who clearly almost never sees his father, that much is enough, a rare genuine moment of human connection brought out by advice from two people who are part of a family that is, in a lot of ways, much more real and genuine than Damian’s. Maybe he will find his own way to true connection—with his father, or with someone else—in due time. I hope so, the poor kid deserves better.

On that note, Spy x Family‘s wildly successful first season ends. I’d make some kind of grand denouement here, but the year-end list is only a few days away from starting up, so I’m sure you can wait until then. I will just say this much for now; through Spy x Family’s ups and downs, I’ve never stopped caring about the Forger family and their friends, and I am excited to see what else is in store for them in the future.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter, Mastodon, Cohost, Anilist, or Tumblr and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

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Let’s Watch CHAINSAW MAN Episode 11 – “Mission Start”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

To some, it will seem a little surprising that we’re already near the end of the first season of Chainsaw Man. But quite a lot has happened over the past eleven weeks, and the foot is not taken off the gas pedal for a single second of episode 11.

We lead by catching up with Aki. As mentioned, he’s pushed to contract with a new Devil, one who is apparently known for taking quite hefty prices—the examples we’re given are “both eyes” and “half of the contractor’s lifespan”—and we meet that devil here. Don’t let the reputation fool you, though. He’s a surprisingly jovial sort. Meet the Devil of The Future.

He offers to contract with Aki for nothing more than the small price of living unobtrusively in his right eyeball. Why does he want that? Well, he says it best himself.

Aki says that he doesn’t care how he dies as long as he can get his revenge on the Gun Devil. But, notably, at no point does he think to ask the Future Devil (who would presumably know) if he eventually succeeds in doing so. Intentional foreshadowing? Just Aki drawing a mental blank that has no deeper significance? Neither? Both? I leave that question up to you.

A solid amount of the episode focuses on Makima having meetings; first with Kishibe and then with a Yakuza boss. If that sounds dry, rest assured that it very much is not. These are possibly the most substantiative character moments that Makima’s gotten so far. Plus, she is wonderfully stone cold throughout both. The character has a real ice-and-iron magnetism, and even if these scenes were about nothing much, she’d be a joy to watch.

Kishibe calls her out to try to discern her true intentions. Evidently, it’s clear even to him that she’s up to something. (Direct quote: He doesn’t care “what fucked shit [she] has cooking” as long as she’s serving mankind’s general interests. Kind of a wild thing to say!) He also accuses her of knowing about the train attack beforehand and doing nothing to stop it. When she reminds him that she was attacked too, and uses this fact to imply that there’s no way she could’ve known anything. Plus, a decidedly creepy grin, and the reassurance that her main goal is to “save as many people as possible from devils.” Oddly exact wording, maybe. Perhaps picking up on this, Kishibe flat-out calls her a liar, and the scene cuts away.

After another Aki scene (pretty good in its own right, but minor compared to everything else that happens here), we again join in on Makima meeting up with someone. This time, it’s the aforementioned Yakuza boss. Her goal here is simple enough; she wants his cooperation, a list of names of everyone both in his own family and in all the others who’ve contracted with the Gun Devil. (These “contracts” apparently consist of little more than giving the Gun Devil money and getting guns and ammo in return. The thing being a glorified firearm dealer is certainly something to chew on.) He refuses, arguing that this’d spark a gang war. Then, he doubles down, and tries to intimidate her while simultaneously justifying his own actions. If the Yakuza didn’t do what it did, he claims, then foreign mafias would elbow their way in to Japan. It’s a necessary evil, really.

This kind of self-justification evidently does not sit particularly well with Makima, whose own counterargument (it’s only a “necessary evil” if the state controls it) is pretty dubious on its own, but its effectiveness as a rhetorical point is rendered pretty irrelevant by what she does next; plops down a brown paper bag filled with eyes. Those of the various yakuza members’ girlfriends, parents, grandparents, etc.

With the frightening reassurance that, yes, Public Safety does have somebody who can put them back in, somehow or another, she gets her list. What exactly she does with it is not textually spelled out, but when the Yakuza goons start getting spontaneous nosebleeds and passing out cold later in the episode, it’s not difficult to draw a connection.

Which brings us to the episode’s final act; Special Division 4’s assault on the building where Katana Man and Sawatari are holed up (said building is infested not just with the Yakuza but also with a zombie army, a remnant of the Zombie Devil’s power). Kishibe leads the operation, and as he explains to the decidedly less-badass rabble that Div. 4 is operating alongside, they should be more worried about the mostly-non-human operatives of Division 4 itself than they should the terrorists. In practice, this is an excuse to give us a stylish introduction to several new characters. Enter Division 4’s ringers. In no particular order, we have:

Beam, the Shark Fiend (Natsuki Hanae), who can swim through any surface and briefly turn back into his proper Devil form to chomp basically anything in half.

The Violence Fiend (Yuuya Uchida), on the extreme rational end for a fiend, and strong enough that Public Safety straps him with a poison gas-emitting mask even in situations like, well, what happens during this episode.

The Spider Devil (Saori Gotou); who has a human woman’s torso with a zipper running up the center and, appropriately, eight legs that she can use to kick the ever-loving fuck out of things.

And finally, the Angel Devil (Maaya Uchida), who despite his waifish appearance can drain the life force from anything with a touch.

The entire final ten or so minutes of the episode look absolutely fantastic, and should once again quell any doubt about the Chainsaw Man anime’s worthiness as an adaptation from a style point of view. The real interesting fight, though, doesn’t involve any of these new characters. Instead, it involves Aki, who gets the chance to confront Sawatari head-on, and—this is unspoken, but fairly obvious—avenge Himeno’s death.

There is only one problem; Sawatari’s Snake Devil can somehow “spit back up” the other devils it’s eaten. Which means that as the episode ends, Aki is face to face with this; the Ghost Devil, returning to strangle the life out of him under Sawatari’s orders.

Will he survive? This hardly seems like the death that “fucking rules” that the Future Devil promised Aki, but maybe he just has a sick sense of humor. Who can say?

Bonus Power Screencap: Despite everything else it’s packed with, this episode doesn’t actually feature a ton of Power. Thankfully, she puts in a stylish monochrome appearance in the ED. Here’s that.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

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Let’s Watch SPY X FAMILY Episode 24 – “The Role of a Mother & Wife”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Today, on Spy x Family, Loid and Yor have what is quite possibly the first honest conversation in their entire relationship. Does it work, as either a story beat or a piece of earned character development? Eh, yes and no.

This is, if you were curious, still about Fiona. Yor’s hung up on the idea that Loid might have someone else in his life, and might be eager to get rid of her, since she is, in her own mind, not a great parent. (Exactly why she thinks this is only explained in broad terms, given that she calls herself a “musclehead” and similar.) Loid knows trouble might be brewing because of some gossiping old women outside his apartment complex (a recurring fixture in this series, really). His solution? A bar date. Which, itself, does not go as planned.

Yor actually tries to talk herself into being okay with the idea of Loid leaving her for Fiona. The fact that this isn’t actually what’s happening is more or less irrelevant. She gets so into her own head that she tries to break up with Loid first. When she can’t actually make herself say it, she drinks enough that she starts sloshing and slurring her words. (Somewhere in here, Loid tries to 10,000 IQ his way out of the situation and gets kicked in the chin for his trouble. Not a good idea, man!) Trying to break up doesn’t work, of course. Because whether she realizes it or not, she’s genuinely in love with the man and loves her current life as his wife.

They eventually patch things up, in a moment that is genuinely pretty sincere. During their conversation, Loid ends up drawing an analogy between how safe he felt as a boy when his mother would sing him to sleep, and how safe Anya feels with Yor. It’s sweet, and it’s a nice reminder that these two idiots do, in fact, love each other, even if they’re still not really cognizant of it yet, necessarily. This is all extremely hetero, mind you, but straight people deserve good romances too. I’d say this episode is one. Its first half is, at any rate.

Yes, this is another episode with two distinct, largely unrelated halves. The B-plot here is about Anya, who, to be fair, hasn’t had a spotlight episode in a few weeks at this point. While I wouldn’t blame anyone for being a touch tired of The Anya Show, this is one of the better such segments. Mostly because rather than revolving around Anya’s ongoing quest to gain eight Stella stars, it instead centers on her relationship with Becky, a hitherto largely undeveloped character who gets a bit more depth and development here than she’s previously had.

The premise is simple, if silly. Becky wants to take Anya shopping, so she—the heir to a fashion fortune, remember—rents out an entire department store. What initially threatens to be a little dry soon turns out to be mostly an excuse to draw both Anya and Becky wearing ridiculous outfits. Those that Becky tries on largely remain within the realm of traditional cuteness. Anya’s, meanwhile, are so goofy that they quickly go from “cute” to “avant garde.” (Her outfits are also soundtracked by a pleasantly breezy pop song. A nice touch.)

More importantly; it’s genuinely sweet to see Anya getting along so well with Becky, given that she’s Anya’s only real friend. Anya eventually buys Becky and herself a pair of matching sheep keychains. A flashback from Becky’s butler provides some important context here—Becky struggled with making friends when she was younger, being prone to haughtiness and with an inability to hold her tongue. Anya, as perhaps the first friend her own age that Becky actually respects as an equal, is a very important person to her, whether or not she’d ever say so.

This week’s Spy x Family is, on the whole, a low-key and relatively character-driven affair. Very different than the tennis-fueled adrenaline rush of the last couple episodes, but solid nonetheless.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

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Let’s Watch CHAINSAW MAN Episode 10 – “Bruised & Battered”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Chainsaw Man does not really do “slow” or “transitional” episodes. Even so, episode 10 is a comparative breather. The series takes its foot off the gas here for the first time in a while, but that shouldn’t be taken to mean that this episode is in any way lacking. Pathos, humor, and a surprising amount of action are all here. Chainsaw Man doesn’t do “minor” episodes, either.

We open with Aki awaking in the hospital, some days after the attack by Katana Man and his co-conspirators. One must imagine he’s a bit disoriented. Himeno, his partner of a number of years, is dead, as is much of the rest of his division. He himself was taken down during the fight and seems to only have survived through sheer coincidence. What does he awake to find? Just Power and Denji eating most of his get-well soon basket. Just another day in the life.

After they leave, he finds himself frustratedly thumb-flicking a lighter that won’t start, breaking down into a crying fit as the repeated click-click-click of the flint dissolves into memories of Himeno.

Denji has an interesting moment here, as well, on just the other side of Aki’s hospital door. As he recalls that Himeno, one of the first people who’s ever shown him any genuine kindness, is now dead, he realizes that he feels basically nothing. Musing on it further, he realizes he wouldn’t be terribly sad if Power died either. Even Makima, for how big of a spot she occupies in Denji’s mind, would only incur about “three days” of mourning, he guesses. He wonders if he’s lost his heart in more than one sense, before deciding to shove the thought away for the time being because it’s depressing. (I bet he and Finn from Adventure Time could have a very long conversation about that particular technique.) All this before the OP even drops.

After the cut, we follow up on that whole “training” suggestion from last week, and the episode forks in two. Denji and Power get a new teacher, in the form of the chronically drunk, middle-aged devil hunter Kishibe (Kenjiro Tsuda, doing his thing). Kishibe is an enigmatic figure, but slots neatly into the archetype of the drunken mentor. His method for training Denji and Power? Killing them! Over and over and over again, and then healing them back up with blood so they can recover.

Slorp.

He reasons that, since he is (apparently) the strongest-ever devil hunter, if they end up being able to kill him, they’ll be able to kill even the strongest devil without any problems. This is Chainsaw Man’s idea of a training episode; our heroes having their necks snapped and their throats slashed out by the guy who’s trying to build them into better badasses.

When, after the first night of this hellish training is over, Denji complains, you understand where he’s coming from. This is unfair and completely sucks, he says. He’s been working hard because he wants to live his version of the “easy life”, a warm bed, hot showers, three meals a day, etc. But now that Kishibe’s hellish training routine is in the picture, he feels demoralized, and worst of all, this new stepping-up of responsibilities isn’t because of anything he actually did. The Gun Devil wants his heart for some unknown reason. As far as he knows, he has no part in that.

All of this will seem eminently reasonable to anyone who is, or has ever been, part of the mundane workforce. (And probably to more than a few other Devil Hunters as well, although I don’t think any of those read my articles. If you do, please tell me how you got Internet access in the Fujimotoverse in the comments below.)

There’s a particularly lovely bit here where Power and Denji recoup their energy while walking home along a highway at night. They plot to take Kishibe out and hopefully escape their current training regimen as soon as possible, but more than anything, the scene demonstrates a real camaraderie between the two, in spite of what Denji may worry about his own self.

Aki has a decidedly less pleasant experience during the course of this episode. Himeno’s younger sister—who we see here for the first and only time—delivers him Himeno’s letters. In a scene that’s almost completely identical to the manga, Aki reads them, and realizes that Himeno was trying to get the both of them to quit, or at least to go private, for years. Yet another sucker punch to the gut for Aki, who, I’m realizing upon re-experiencing this story for now the third time, seems to have worse luck than even Kobeni.

The episode ends with Aki being escorted to an underground facility where Public Safety keeps the devils they’ve managed to capture alive. Here, in this rusting cage somewhere beneath the Earth, Aki meets his new devil partner, who, we’re helpfully informed, has previously asked his contractors for such pleasant things as “half of their lifespan” and “both eyes.” What will it ask of Aki? We don’t know, the end credits drop in here, leaving that a question for the future.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

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Let’s Watch SPY X FAMILY Episode 23 – “The Unwavering Path”

Finally, for 22 uninterrupted glorious minutes, Spy x Family has seen fit to go full Looney Tunes.

I actually complained about something similar to this a few episodes back. But that was different; a single scene that goofy in an episode that otherwise works on rather different rules is out of place. An entire episode of that sort is a lot easier to swallow. Even if some of the fundamental issues that needle the outside edges of SpyFam remain, this is one of the strongest episodes of the entire second cour.

And what can we thank for this radical advance? Tennis, naturally.

It’s easy to use shortcuts like “fluid” and even “sakuga” to describe particularly pleasing animation in anime, but the stuff in this episode really does stack up perfectly well to anything else being made right now, even seasonal highlights in this department as diverse as Chainsaw Man and BOCCHI THE ROCK! – Spy x Family, for this episode at least, stands right beside them.

The “Fonies” tennis match is fun in its own right, too. Loid and Fiona’s opponents begin pulling out even more absurd tricks to help them win; raising and lowering the net height, artificial wind, coating the ball in a foul-smelling perfume, shooting Loid with a rubber bullet from a sniper rifle (quote: “I figured something like this might happen, so I wore a bulletproof vest.” What a man.) None of it works! Twilight and Nightfall are just too damn good together at, specifically tennis, and nothing else. When the match ends, the agents’ mark is so taken by the sheer strength of their play that he gives them the prize, as promised. One of their opponents turns over a new leaf as well. All’s well that ends well, right?

Well, not quite. Fiona is still Fiona, and while I’d ordinarily criticize Spy x Family here for managing to fail the Bechdel Test repeatedly when it has so many female characters, the rivalry that’s developing between Fiona and Yor is actually one of the more interesting plot points the show’s served up recently. It’s also damn funny, if only to see Fiona vastly underestimate Yor. She challenges her to a tennis match, apparently not sick of the sport quite yet. Yor appears to whiff her first swing, only for it to turn out that actually, what happened is that she diced the tennis ball into pieces. This is a fun double gag, because one sees Yor wind up dramatically, sees her seem to miss the ball and assumes the show is going for yet another “Yor’s so clumsy” joke, only for the ball to then crumble into chunks, revealing that this is actually a “Yor’s so deadly” joke. (The better of the two categories, by far.)

Naturally, Yor absolutely smokes Fiona, and Agent Nightfall is left totally defeated, old-school sketch frame and all.

The episode’s final shot is an intriguing one; Yor, sitting on the couch of the Forgers’ apartment, staring off into space, clearly bothered by something. Is it Fiona? After all, “fake” marriage or not, Loid has started running around, suddenly, with a woman who Yor’s never seen before. One can understand why she might feel insecure about such a thing.

This, to be sure, would still be a relatively basic plot. (It’s not like “two women fighting over a man” is anything particularly new.) But there’s always room for new spins on old ideas, and if Spy x Family seems like it’s more on-track recently than it has been for much of this cour, maybe digging back into the fundamentals is exactly what it needs.

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Let’s Watch CHAINSAW MAN Episode 9 – “From Kyoto”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

The highest praise that I, personally, can bestow on an anime has nothing to do with my writing at all. It’s a feeling, a kind of half-anxious, half-excited wriggling in my gut. Butterflies; basically, not out of serious anxiety that a show might “get bad” or any malformed pessimistic instinct of the sort, but from the sheer, imminent thrill of where something might go next. It is a very basic lizard brain sort of thing, and it’s not something I really have any control over. It’s one thing to feel like this when I’m not familiar with the source material—or if there is no source material—but today, as I sit here at 9 AM waiting patiently for the newest episode of Chainsaw Man to release, is the first time I’ve ever gotten it from an anime where I already totally know how this story ends. I am that excited purely from the sugar rush of this series being put to silver screen, yet again.

Maybe that means nothing to you, but to me, it’s another badge on CSM’s already well-decorated vest. One it’s really only just put on, in the grand scheme of things, given that we’re heading into the finale of the first of what is sure to be many seasons. Last week, when I was regrettably sick, we saw Chainsaw Man take its combat direction to another level as lives were lost, cursed phantoms appeared from the ether, and seemingly the series’ very foundations were torn to shreds in mere minutes.

This week? Vengeance with the V from Violence.

The last act of the Ghost Devil, Himeno’s now-former contracted devil, is to pull Denji’s ripcord before she finally vanishes. He and Katana Man go for round two in a fight scene that would be the highlight of an episode of nearly any other shonen anime. They slug it out something fierce, and Sawatari, Katana Man’s handler, even calls in some backup. But Chainsaw Man tends to swing for the fences, and this scene, while nice, is fairly conventional compared to what follows. I say this despite the fact that it ends with Denji being cut in half at the waist and left for dead. (You’ll forgive me for not pretending that there’s any real chance he’s going to stay dead in the anime named after him.)

A cue Chainsaw Man wisely takes from its most accomplished ancestors in the shonen anime field is that, while it is ultimately an ensemble piece, it knows to let each individual player showcase their strengths. By analogy; these are solos, stretches of the story where a single character becomes the focus on all levels; aesthetically and thematically bending the series itself to their personal rhythms. Chainsaw Man‘s ninth episode features, basically, two of these showcases, and they are wonderful, things of true frightful glory with fairly few peers in this—or any—anime season.

Makima, to the surprise of, I imagine, no one, is not dead. The episode pivots over to her part of the story through shots of the dead; eerie, still, and silent. Indeed, one of the bodies the camera lingers on is hers. That silence is final for most of the passengers aboard the train that the terrorists hit in last week’s episode. But, evidently, it isn’t so for Makima herself.

Makima jumpscare.

When that train finally rolls in to its original destination, Makima is the one who steps off; covered in blood that is mostly not her own but evidently not actually any worse for wear. The two here-unnamed Devil Hunters she links up with are quickly drafted into a support plot. Simply put, no one involved has the time to speed back to Tokyo to help Denji and friends. Instead, Makima will “do what [she] can” from afar.

So what does “what she can” entail?

Well, I will start by saying, I think almost anyone with even a tiny smidgen of media literacy will pick up on the fact, very early in Chainsaw Man, that there is something decidedly off about Makima. But this episode is the first time we see just how “off” she really is. Let’s put it this way; her plan requires her to be taken to the highest nearby temple that her assistants can find, as well as “thirty convicts serving life sentences or worse.”

You can, here, start to make some guesses about where this is going. But if you don’t feel inclined to, the show spells it out about as soon as Makima has those 30 prisoners kneeling in front of her, with both they and her assistants wearing blindfolds. She then starts making peculiar hand motions; massaging her hands together, as though kneading a lump of clay. Here, for even the most unobservant, I must imagine the fact of the situation suddenly clicks into place; you are watching a ritual sacrifice.

As Makima works, the show undergoes a temporary transformation into a straight-up horror anime. One that is still, mind you, lit by the midday Sun, but is no less oppressive because of it. Makima’s contracted devils—whoever they are—must be fearsome indeed, because we don’t actually see them work at all. One by one, Makima has each convict recite the name of one of the terrorists. One by one, three prefectures away, crows spot them, they feel a sudden, inexplicable, and overwhelming sense of impending doom, and then, spontaneously, they explode, into a water balloon pop of high-pressure gore; ridiculous, and deeply unsettling expressionism by way of supernatural violence. The soundtrack, appropriately, darkens to an intense, drumming industrial track while this occurs. When it’s over, even Makima’s own immediate subordinates are more than a little freaked out. This, clearly, is some nightmarishly deep magic. Questions of how are of course unanswered at this time. You want a takeaway? Try “don’t mess with women in suits.”

Makima isn’t the only one to make an excellent showing here. Kobeni, who I suspect many anime-firsts might’ve written off as a bit character, puts in an absolutely stellar turn here, too. Shaking and trembling, she confronts the fleeing Sawatari and Katana Man. Hirokazu having physically shoved her out of the way of an assassin’s bullet and taken the shot himself, she is one of the few human members of her division left alive. Even so, she charges at Katana Man with nothing but a knife and a truly inhuman set of reflexes.

We actually get even fewer details about what Kobeni’s got going on as far as powers than we do for Makima, but sometimes exposition isn’t necessary. Kobeni manages to somehow flip what must be a truly back-breaking weight of PTSD into enough adrenaline and finesse to absolutely kick Katana Man’s ass; she very nearly kills him. Only after he and Sawatari have fled the scene does she finally break down crying, tearily apologizing to Denji for trying to kill him, and then laughing at herself for the absurdity of her words. The last we see of her here is that; half-cackling, half-weeping, and talking to a bisected corpse.

So, what of Makima and her two new “friends”? Well, somehow or another, she seems to know that her little Satanic ritual / artillery strike worked just fine. Madoka, a character we formally meet for the first time here, gives Makima the rundown; Special Divions 1 through 4 have been decimated—almost literally—by the terrorist attack, and the remnants of the four are being merged into a single unit under Makima’s own direct command. He also, without missing a beat, hands Makima his retirement slip. She accepts it, but when he tries to learn a bit more about what’s transpired here, this is the response he gets.

Bonus Power Screencap: Power isn’t in this episode! She doesn’t even show up in the ED! So do you know what you get instead?

Go on, guess.

Yeah, it’s another Makima stare. I’m not sorry.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Anime Orbit Weekly, Misc. Anime

Anime Orbit Seasonal Check-in: Long Names and Short Stories in MY MASTER HAS NO TAIL

Anime Orbit is an irregular column where I summarize a stop along my journey through anime, manga, and the related spheres of popular culture over the past week. Expect spoilers for covered material, where relevant.

Of the anime I wrote first impressions on at the top of the season, My Master Has No Tail was and remains the most obscure over here in the USA. Its charming but unflashy production values and art direction as well as its somewhat niche subject matter have meant that it was basically destined to fly under the radar since day one. I loathe this phrasing, so I tend to avoid it, but it really is hard to conceive of something more quintessentially Japanese than a show about a tanuki learning rakugo.

But that doesn’t mean it isn’t good. In fact, I’d actually put My Master Has No Tail ahead of several other “slice of life” anime this year. Partly, it’s simply that I’m a sucker for a good piece of art about the process of creating art itself. 2022 has felt light on those; anime that enshrine the creative and performative process itself as something worth valuing and holding on to. My Master Has No Tail is good enough that it’d stand out even in a year with more of them, but being the proverbial droplet in the desert has definitely made it mean more to me personally. (It’s not totally alone in this venture, mind. Earlier this year there was Healer Girls. This very season we have BOCCHI THE ROCK! Still, Master simply hasn’t picked up the fanbase that matches Bocchi, or even the more muted reception to Healer Girl.)

The anime’s tenth episode zeroes in on this to an even greater extent than the series previously has, as it heads into its final stretch. This episode focuses heavily on names, both in a general sense and several specific examples; that of the routine that features here, that of the previously-nameless Mameda herself, and on the tradition of name inheritance in rakugo as a field. In this way, it illuminates the importance of passing these artistic traditions on; from teacher to pupil, down through the generations. (The core conflict set up here is, in fact, about someone who doesn’t want that to happen.)

Mameda has, by this point in the series, been living with, and been the apprentice of, her master Bunko for some time. Except; the heads of Japan’s other major rakugo lineages aren’t having it. Mameda has to pass a test from all of them; the first was last week, and this week’s episode centers around the second. Her examiner, as it were, is Enshi Kirino, a cat-like rakugoka from a rich family who speaks in a dragging, laboriously slow monotone unless a metronome happens to be running nearby. (In which case, she can talk at normal speed. Though her tone is still informed by a sense of smug mischief.)

Perhaps not coincidentally, this is where the show finally makes use of “Jugemu”, probably the most well-known rakugo routine of all time, and certainly the only one that most western otaku are likely to be familiar with, if only because it’s referenced in anime, manga, and basically every other field of Japanese pop culture pretty often. The test put to Mameda is very simple; she merely has to memorize “Jugemu” from Enshi’s example (she has two opportunities to observe Enshi, in fact), and perform it perfectly. No mistakes allowed; not a single syllable out of place.

Enshi’s instructive performance is fairly interesting on its own; she puts a tightly-wound and almost mechanical spin on it, possibly in a deliberate attempt to psyche Mameda out, something her voice actress Ayana Taketatsu leans into quite well. Initially, Mameda just can’t commit the bit to memory. A problem when the entire premise of the routine is the title character thereof having a ludicrously long name.

Nothing helps until she thinks to meditate in the woods. There, for the first time, Mameda faces her fears in an honest way; she’s scared of failing the test, because failing would mean being kicked out. And she doesn’t want that because being under Bunko’s tutelage is the only place where she’s ever felt like she’s truly belonged. That realization is what makes the routine eventually click for her, and she recites it to Enshi, who in turn, is enraptured enough by Mameda’s performance—despite Mameda being totally exhausted at this point—to fall into reminiscence about her own master; the previous Daikokutei. Bunko‘s own master.

“Jugemu Jugemu Gokō-no Surikire Kaijarisuigyo-no Suigyōmatsu Unraimatsu Fūraimatsu Kūnerutokoro-ni Sumutokoro Yaburakōji-no Burakōji” – Mameda.

The episode ends with Enshi presenting Mameda with a paper fan on which she’s written her own name. I do not actually know for certain if this is some sort of traditional gesture of esteem in rakugoka circles, but it wouldn’t surprise me to learn so. In small moments like this, My Master Has No Tail is as compelling an argument for the arts as any other that’s aired this year.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Let's Watch

Let’s Watch SPY X FAMILY – Episode 21 & 22

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Her code name is “Nightfall.” Alias Fiona Frost. Real name unknown, and unknowable. She is a spy; an international woman of mystery; a phantom in the night. A cloak, a dagger, a whisper on the wind.

She has a huge crush on her coworker, and she’s dealing with it really, really badly.

Fiona Frost (Ayane Sakura), is the first major new character to be introduced to Spy x Family since Bond near the start of this season. On the one hand, she plays into a pretty disappointing pattern of SpyFam not giving its female characters much depth outside of their relationship to Loid. (Other than Anya, who, as a girl rather than an adult woman, occupies a very different place in the narrative just inherently.)

On the other hand; this is still a romcom at the end of the day. While the aforementioned self-imposed narrative constraint remains a handicap, it is at least possible for Spy x Family to pull off some interesting tricks from within that framework. Those tricks are enough for Spy x Family‘s better episodes in this vein; it can leverage them, both for laughs and into actual character development.

We’re introduced to Fiona in a formal context. Her handler informs her that she’ll be working with Twilight for their next mission. Immediately, we get a sense for her character in that her mind begins to race with ways by which she might replace Yor—who she has not even met yet, at this point—as Loid’s “fake” wife. The message is clear from the episode’s opening shots; Fiona is catastrophically down bad, and it’s not going to get better any time soon.

Posing as one of Loid’s hospital colleagues, she shows up unannounced to the Forger household. There, she plans to try to convince Loid to abandon Yor, and take her as a wife instead. The fact that this will be a huge problem toward Operation Strix itself (which she’s fully aware of) does not seem to much bother her. In any case, it’s a doomed cause from the start simply because Loid isn’t actually there when she arrives. Instead, she spends the episode’s first few minutes trying to psyche out Yor, only for her verbal ace in the hole—some unkind comment that starts with “Dr. Forger is always saying his wife is–“—to be interrupted by Loid, Anya, and Bond arriving home from their walk.

Thus, the game changes; she switches to talking with Twilight in code (a very stupid-funny sequence where we learn that WISE agents know how to “make their mouth movements not match what they’re actually saying”, so they can communicate via lip-reading), and directly tries to get him to break it off with Yor.

All the while, Anya uses her mind-reading powers to instantly discern Fiona’s true motive, and is more than a little disturbed by what she sees.

Obviously, Fiona’s attempt to break up the Forger family does not work, and the fact that there’s a fake smile plastered across Loid’s face is cold comfort; she knows Twilight well enough to know that the “subtle body language” she can pick up on as a fellow agent means that he truly is happy with Yor and Anya. Of course, that does not necessarily mean she’s willing to accept it.

Fiona, thus, is something of a minorly tragic figure despite the silly manner in which the episode presents her woes. She’s shackled to the idea of loving a man who, in all senses, “belongs” to someone else. (There are solutions to this problem, but, well, I doubt polygamy is legal is Ostenia.) When she figures out that she has no immediate way to win, she immediately leaves, walking into a rainy afternoon, and into a downpour that looks positively freezing. Loid brings her an umbrella at the end of the episode, and she takes the opportunity to change tactics; she tells Twilight not to hold her down, and says that she thinks “playing house” has made him soft.

Of course, we all know that’s just her changing her angle. Which brings us to episode 22.

Fiona persisting in her pursuit of Twilight is not unexpected. What might be, though, is episode 22’s headlong dive into the world of illegal underground gambling tennis.

Yes, you read that correctly. In its twenty-second episode, Spy x Family effectively embeds an entire other anime inside it; something in the vain of Kaiji or Kakegurui crossed with a sports anime. Loid and Fiona’s mission is to play in an underground tennis tournament in order to gain access to the mansion of the man hosting it, an energy company heir and antiquities collector named Cavi Campbell. There, they’re to retrieve a rare painting. Why? Because the painting is related to a secret document known as the Zacharis Dossier, which contains such high-demand intel as “records of the East’s human experiments” and “the truth behind the West’s massacre of POWs”.

Pretty heavy stuff! Especially considering the remainder of this episode, which, other than a brief flash over to Anya and Yor, is a totally bonkers take on sports anime. If anything else within Spy x Family itself, it resembles that unhinged dodgeball episode from part one. But this is a significantly stronger commitment to the bit; the animation is wilder, the comedy a bit more dialed-in. This may, in fact, be the best episode of the second cour so far. Not in spite of its differences from the rest of the cour, but because of them. Even as details like Fiona’s motivation remain unchanged.

Things begin in relative simplicity, with Loid, who claims to merely “dabble” in tennis, laying a total shotgun smackdown against their first opponents in the tournament, despite those opponents being hardened warriors of the racket.

Things escalate from here; their second opponents are completely roided out on a mix of illegal steroids that makes them look like tennis-playing cousins of the Incredible Hulk.

By the episode’s halfway point, Loid and Fiona are subjected to some sort of weakening gas while locked in a room awaiting their final match. Their opponents, Cavi Campbell’s own kids, wield jet-powered rackets with extending whip handles and play on a court booby trapped in their favor. The entire thing is just wonderfully ridiculous, and the fact that we don’t see the conclusion of this arc here means that we’re probably in for another episode of tennis-themed madness when next episode rolls around.

Most importantly, this episode is fun the entire way through, in a way that it’s really felt like Spy x Family has lacked for a decent chunk of its second cour. If it takes a bizarre turn into sports anime weirdness to get SpyFam back in proper form, I’m all for it.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Let's Watch

Let’s Watch CHAINSAW MAN Episode 8 – “Gunfire”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

Content Warning: This article contains an embedded image which depicts a realistic instance of gun violence.

You know, I wasn’t actually going to cover this week’s episode. I’m sick, and I tend to write much worse when I’m sick. So, if this column—again a few days late—comes to you in a more rambly and disjointed form than usual, I do apologize.

That said; holy fuck that was good.

Most of the attention that Chainsaw Man episode 8 has gotten and will continue to get is going to come from its fight scene in the second half, a lovingly-rendered hallucination of locking blades, smoke, and phantoms.

We should talk about the first half of the episode, though. Pour one out for Himeno, who spends the first half of this episode continuing her drunken attempts to seduce Denji and ends it with her body literally vanishing into thin air. A sacrifice for nothing, as the episode’s final sucker punch makes clear.

Throughout another of the anime’s deeply-studied emulations (but not mere imitations) of live action film, she comes across as a lovable drunk, even as the opening scene itself sits somewhere between “intimate” and “horror movie.” She and Denji do not actually do anything, something she’s grateful for come morning since “they throw you in jail for doing that stuff with minors.” Even this in mind; she almost immediately offers to help Denji get together with Makima, whose affections are still what he’s actually gunning after. It either does not occur or does not matter to Himeno that Makima is also a fair bit older than Denji. Maybe she’s willing to skirt the law if it means her new bestie will be happy.

In either case; she doesn’t get the chance. Let’s circle back around to that in a few paragraphs’ time.

There is a scene, deliberately left un-expounded-on here, where Makima and several of her escorts from Public Safety are in the middle of a business trip train ride only to be abruptly shot in the head by a mysterious terrorist group. The unease hangs like a heavy fog, and it does not let up from here.

We’re introduced to two new characters in this episode, also. The first is informally known as Katana Man (Daiki Hamano) to most of the fanbase; the son of the yakuza boss that Denji killed back in episode one, and who rendered his early life so miserable. (Officially, his nomme de gurre is actually Samurai Sword, but few people call him that in my experience.) Katana Man is here to avenge his late father, and after a curious rant about how the ramen in the restaurant the scene takes place in tastes terrible, and how if you’re raised on “crap” as a kid you never develop “good taste”, the episode promptly explodes into shattered glass.

Katana Man himself is more than a match for Denji and, indeed, the entire group with Denji—Aki, Himeno, and Power—to say nothing of his mysterious handler, Akane, (You Taichi), the second character we meet here.

The entire “fight scene” (frankly, the term feels inadequate) is vicious and surreal. In particular, the bizarre sequence of Katana Man being “crucified” by new arrival the Curse Devil is sublimely terrifying and is the sort of thing I want to see the anime do more of as we continue moving forward.

As for Himeno, with the last gasp of her life, she tries to buy even just a few minutes to keep the others, especially Aki, who it’s become clear that she deeply cares for, alive. It doesn’t work; Katana Man’s handler summons her own contracted devil, the Snake Devil, and it eats the Ghost Devil in a single bite before vanishing with a light switch-flick snap cut, like it was never there at all.

That’s the fate of Himeno, too, reduced bodypart by bodypart until she’s nothing but a pile of clothes on the ground.

It always feels a little shitty to have to “justify” an early character death (a story trope of no inherent value, like any other), but really, as much as anything else, it serves as the final off-ramp for people who might not be able to handle—or simply not want to handle—what Chainsaw Man is putting down. There is a reason this episode’s ED is a song called “the first death.”

Bonus Power Screencap: Before the fight begins in earnest, Power gets a good, solid sock to the jaw in, on Katana Man. Here’s that.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.

Posted on in anime, Let's Watch

Let’s Watch CHAINSAW MAN Episode 7 – “Taste of a Kiss”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!

You don’t need me to tell you that Denji, as his antiheroic alter ego of the titular Chainsaw Man, fucks up the Eternity Devil something wicked. If you’re watching this show, the fact that Denji can out-crazy the craziest of Devils is not news. It’s something that’s been established since basically episode one.

That is indeed how episode 7 opens. Denji, yet again a whirlwind of iron and gore, ripping the Eternity Devil to pieces, over and over and over again, until it finally stops fighting and begs to be put out of its misery. We’re told this little ballet of violence took place over three entire days; Genesis-ian timescale reduced to a footnote. Somehow, this fight scene, in all its headbanging heavy metal AMV glory, is not nearly the most notable thing about the seventh episode of Chainsaw Man. Even so, it is worth highlighting the flashback conversation between Himeno and her own mentor, who puts forward the idea that the devil hunter that the devils themselves fear most is not one who’s brave, but one who’s “got a few screws loose.” Most of this part of the episode is meant to re-emphasize that yes, Denji’s incredibly rough upbringing really has left him “crazy.” Remember, as we go forward, that Public Safety recruited him not in spite of that, but because of it.

Anyway, shall we cut to the vomit kiss? We might as well, right?

I have no photos of the aforementioned vomit kiss. Because I love you, dear readers, and also I think that putting images of a woman puking on my website would probably not be great for SEO. But! It is here! It is important! Somehow, it is actually quite important!

It also tends to serve as one of Chainsaw Man‘s great filters. I think the importance of these things—and of “weeding out the normies” in general—is vastly overstated, but it is impossible to deny that it’s going to put some people off. That’s a little unfortunate, but Chainsaw Man, while it never goes back to this particular well (I guess that’s technically a spoiler. If you’re angry about me spoiling the fact that no one else pukes in anyone’s mouth in Chainsaw Man you’re free to yell at me about it in the comments), is only going to get grislier from here. It’s probably better that people know what they’re working with.

The context of that particular incident is very important, and it doesn’t happen until toward the end of the episode. In fact, leading up to it, Denji is actually being rewarded for once in his life; he’s killed the Eternity Devil, gotten the entire unit out of a pretty harrowing situation, and has even procured a piece of the Gun Devil’s flesh. All worth genuine praise. So, it’s not a surprise that Himeno (and Aki!) take their squad to a drinking party a few days later. Everybody is there, including several new characters, most of them relatively unimportant. And, of course, Makima, who returns to the show after an absence last week in a truly wonderful fashion by subtly creeping up behind Denji as he’s talking about that kiss Himeno promised him.

Makima Jumpscare

There’s also a pretty great moment where Aki asks her why she’s pursuing the Gun Devil in the first place, and this happens.

Denji, meanwhile, spends much of the restaurant scene acting, as my friend and occasional podcast co-commentator Julian put it, “weirdly moe.” I think that’s an accurate assessment.

On the other hand, Himeno mostly embarrasses herself. There’s a certain kind of person who finds someone being piss-drunk hilarious and/or charming. I will admit that Himeno makes it look better than most, but for most of the episode she’s absolutely sloshed out of her mind. I’m not going to say that this is necessarily because she’s a “normal” Devil Hunter and is partly drinking to forget the surreal and traumatic experience that the past few episodes have been, but I think the idea is at least worth considering.

At one point during the party, Himeno makes an advance on Denji and plants a kiss on him. Then, because of just how drunk she is, she promptly….well, here’s a photo of my note card from this part of the episode. I think you get the idea.

Pardon my handwriting.

The scene is well and truly disgusting. The addition of sound and color makes what was already pretty gross in the manga absolutely nauseating. The actual emission is pixelated, but that might actually make things worse. All told, the amount of artistic heft put in to rendering the scene as off-putting as possible is bizarrely commendable.

Of course, it’s the aftermath of this infamous, iconic scene that is where the actual development lies. We end again on a cliffhanger, but not before Denji, rendered drunk somehow or another, finds himself lying in a mysterious bed.

Only for Himeno to enter, and, in a gorgeously-rendered POV scene that feels far more sensous and grounded than the vast majority of anime cheesecake, climb on top of him. She proceeds to very blatantly seduce someone who—hey, just as a reminder!—is only sixteen years old. We can make a lot of assumptions here, but it’s probably better to save such observations for next time. This scene, in another example of Chainsaw Man’s unorthodox adaptive approach, is cut off mid-thought by the end credits. That’s all for this week, folks.

Bonus Power Screencap: I’m fond of this bit during the bar scene, where Power tries to claim having a high IQ by constantly one-upping the most recent number anyone else has brought up. (She also gets hit on by the short-haired butch woman. I’ve never been envious of Power before, but there’s a first time for everything.) Here’s a cap from the start of that little bit.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directory to browse by category.

All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.