Posted on September 8, 2025 in The Weekly Orbit

The Weekly Orbit [9/08/25]

The Weekly Orbit is a (sometimes) weekly column collecting and refining my more casual anime- and manga-related thoughts from the previous week. Mostly, these are taken from my tumblr blog, and assume at least some familiarity with the works covered. Be wary of spoilers!

Hello there, anime fans. I’m struggling with a bit of the ol’ burnout on my end, but I think I’ve managed to put together a pretty nice column for you this week regardless. Hopefully you agree. 🙂

Anime – Seasonal

Call of The Night – Season 2, Episode 10

I don’t know when, exactly, during this episode it became clear to me that Anko might be trying to commit suicide-by-vampire, but it hit me like a brick when that turned out to actually, genuinely be the case.

I really think this show’s second season has proven to be just incredible in a way I don’t think I would’ve predicted at the end of the first, even accounting for the fact that I liked the first season a lot. The intense emotion on display all throughout this episode, Nazuna and Anko’s horribly painful divorced yuri, Ko getting caught in the right place and saving Anko’s life, and then in the wrong place at the end of the episode when her gun goes off as she’s trying to kill herself….man, I don’t really know what to say here beyond this is a really exceptional series. I think my favorite of the many little touches across this episode was Nazuna ripping up playground equipment when she starts really trying to stop Anko. Playground equipment, you see, as a symbol of innocence, destroyed because neither of them can ever go back to it. Honestly, just brutal, what an episode.

Dandadan – Season 2, Episode 10

Last week we had a fight, and then comedy. This week, we have comedy, and then a fight. Simple!

This is the episode where we’re first introduced to Sakata Kinta [Fujiwara Daichi], although I don’t think we get his name here. His introduction as a weird nerd—an even weirder nerd than Okarun, in fact, by a mile—who makes inappropriate dirty jokes because he thinks it helps him seem cool is a bit of a slow start in terms of actual characterization, but I have to admit it is genuinely pretty funny. The first half of the episode also has a Tom & Jerry sort of quality to it where Momo and Okarun are looking for each other at school and keep missing each other, eventually literally running into each other and prompting Kinta’s surprise that Okarun is “popular with the ladies.” (Presented as Kinta getting the wrong idea in-fiction, but he’s not really wrong, given that both Momo and Aira are interested in him.)

Naturally Kinta gets dragged into a battle with the supernatural when the “gold ball ghost” that was mentioned last week turns out to actually be an invisible monster using high technology to shield itself from sight. Our heroes seem to defeat it (even Kinta makes a small contribution), but it rises again, growing gigantic and promising a full-on kaiju battle next week. I have to give it up not just to all of this show’s usual strengths here but also the music, the kaiju theme sounds like a drum n bass remix of the Godzilla motif. Lovely stuff.

My Dress-Up Darling- Season 2, Episodes 9 & 10

For all my complaining about the slight hit Dress-Up Darling took with that diet episode a couple weeks back, it returns here with two of its best episodes maybe ever. This is what I get for complaining and, hey, full credit, I couldn’t be happier. Two main things happen over the course of this arc. Let’s talk about the less consequential and funnier one first.

First of all, this arc involves Marin’s friend group prepping to do a group cosplay of some characters from a horror visual novel called Coffin. Unlike the series’ usual formula, the dramatic push and pull here doesn’t come from Gojo having to make an outfit. Marin’s buying a simple off-the-shelf number this time, but Gojo is still going to be involved in setting up the cosplay, so he wants to learn more about this visual novel regardless. He visits Marin plays the game at her place, and of all of the various style emulations that Dress-Up Darling has engaged with over the course of its run, this is some of the most impressive. We get scenes from the VN rendered in tastefully faux-retro, dithered pixel art. As Gojo plays, it goes from being a fairly straightforward slice of life thing to being an absolutely brutal psychological horror story about killer nuns and familial abuse. (And from what we see of it, Coffin really is a pull-no-punches kind of game. It’s easily the sort of thing you could imagine grabbing off of itch.io. And, perhaps, end up regretting that you didn’t read the trigger warnings, depending on how squeamish you are.)

Gojo being Gojo, he doesn’t see this coming at all, and to paraphrase his own words, gets a bit hyperempathetic about it. Worse, he doesn’t actually have Marin with him for the majority of his playthrough to bounce off of. He’s also hopped up on energy drinks, because, surprise, the trains back home are out of service and his whole hanging out with Marin has turned into an impromptu sleepover.

Why is Marin asleep? Well, when she sees our boy buying the energy drinks, they happen to be right next to an aisle of what I’ll politely call supplements and gets the wrong idea. So she spends most of the night anxious that Gojo is trying to make a move on her, even as she also kind of looks forward to it, her head spinning with ideas about how they’re going to do all of the “important stuff”—handholding, kissing, and yes, sex—in one night. It’s a little rare for an anime to have noticeably good body language animation, but the way the show focuses on her eyes, dialed into tight, beady little pupils, and toes, twiddling and scrunching up into little balls of anxiety, is really something. It also noticeably never feels even a little bit salacious, since in this context, Dress-Up Darling—never afraid to be horny when it wants to be, and I must stress that that’s fine in its own right—wants you to appreciate Marin as a person with her own thoughts and feelings, not as something to ogle.

After eating some instant ramen, Marin calms down, sharing an adorable story about how her and her dad used to share the very same kind of ramen while watching movies together late at night. In fact, she gets so comfortable while talking about this that she actually falls asleep, and Gojo puts her to bed, leading to his own odyssey with the visual novel above. (It feels like a pointed contrast that Marin, a well-adjusted and happy girl over all, shares a warm and positive anecdote about her father. The protagonist of Coffin, by contrast, is horribly abused by hers.)

With the clarity of morning, Marin beats herself up a little bit about getting so anxious—and so excited—over a simple misunderstanding. She wonders if Gojo actually likes her in that way at all, and in doing so she imagines him rejecting her, which shakes her so badly that she actually starts crying. Her anxieties are dispelled though upon visiting Gojo at his house a day or two later. Gojo, ever-considerate, sometimes overly so, actually tries to turn her away at first. Not because he doesn’t actually want her there, but because he made fried fish for dinner, and isn’t sure if she should be having that, given her stated dieting goals. Marin is moved enough that she just decides today is a cheat day, and she enjoys dinner with her crush.

Still, she can’t actually work up the nerve to outright ask him out. She tries to, but eventually scales the request back to just asking to come back tomorrow. (He says yes, of course.) On a late-night train, the warmth from their time spent together crystallizes into determination, and she promises herself that after the Coffin group photoshoot, she’s going to ask him out, come what may.

I admit I’ve never been super concerned about the overarching “plot” of Dress-Up Darling. It’s always pretty clear in this kind of thing that the leads are going to get together eventually, it’s just a question of if it’ll take the whole series or only part of it. Still, it’s really exciting to see actual progress being made on that front. Even if it’s a feint in the immediate short-term, the character development here speaks volumes. Marin herself, pondering her and Gojo’s relationship, points out that teasing him used to be easy, but now that she’s actually worried he might reject her, she can’t bring herself to do it anymore.

There are complicating factors; one of the other people involved in the group cosplay—Akira, who were introduced to just a few episodes ago, a mysterious and somewhat reserved girl who primarily cosplays her own characters (awesome, it must be said)—doesn’t like Marin for some unstated reason. This, along with Sajuna’s return to the series and her own reluctant involvement with the Coffin shoot, promises to throw at least one, maybe several, wrenches into this whole business. Still, I’m really looking forward to how this arc resolves, there are a lot of parts in motion here, and I am so fascinated to see how they intersect.

Necronomico & The Cosmic Horror Show – Episode 10

You can say a lot about Necronomico, much of which is not exactly flattering, but damn if it isn’t memorable.

There are two main plot threads in this episode; Kanna contending with Ghatanothoa’s game for her—a supernatural raising sim based on her own life—and Kei being played like a fiddle by Cthugua.

In the case of the latter, I don’t think it’s even explained to us what Gua’s “game” actually is, but she spends her entire half of the episode alternately insulting Kei and calling her a pretty doll, while at the same time making her drink sake until she’s so drunk she can’t see straight. Eventually, this culminates in the two of them kissing and burning to death together in Gua’s palace. I’ll be honest, I have no idea where exactly this came from, but as far as tragic (and commendably strange) yuri goes, it’s pretty good.

Kanna’s half of the episode is a bit more thematically meaty, in that Ghatanothoa’s game is directly based on her own, very sad life, and to discover its true ending (and thus win it) she eventually figures out that she has to make no decisions at all.

“You can’t really change the past” is, as Kanna herself angrily points out, exactly the kind of obnoxious and overdone theme that someone like Ghatanothoa would gravitate towards putting in a game like this, with its presentation of that theme equally so. Despite his bloviating about how all of human art and culture is meaningless, Ghatanothoa is essentially portrayed as a parasocial fanboy, in fact, complete with calling Kanna his “oshi”, and his amateurish-at-best command of visual novel writing reflects this. I commend the show for not taking the easy way out of saying that Kanna’s suffering is what gives her life meaning, but it is a little hard to swallow that this leads to another mutual kill. I get why it has to be set up that way; so Miko and Cthulu can hinge the fate of the world on their final confrontation, but it doesn’t really square with what we’re shown here.

And, well, all of this has to put up with the fact that this episode has some of the worst boarding in a show that, even at its best, has not exactly looked fantastic. Still, the end is in sight by now, so I am interested to see if they stick the landing. My personal theory is that this show doesn’t actually have the stones to commit to a bittersweet ending and we’re going to get everyone revived at the last minute somehow. The still-hanging plot thread of Kanna being “favored by Azatoth” would provide the perfect off ramp.

Oh, and no Eita this episode is notable, if only because it means he will inevitably be back next week.

Turkey! Time to Strike – Episode 9

Fundamentally, right, the whole “bowling” motif in this show, it’s a gimmick, right? Or it at least seems like it should be one. You could write a very similar story to this without that aspect of it at all, and people have. But, more than just a way to stand out from the pack, the way the series uses the sport to actually emphasize the communal nature of play as an idea is like….forgive me for not finding a better way to say this, it’s just not something you really expect from a random seasonal anime. Which is absurd, right? Because every anime was a random seasonal anime at some point. There’s not actually a distinction. But it nonetheless manages to surprise me every time one of these shows actually turns out to be this good.

So, you have this episode. A thwarted—thank god—double suicide and winding, beautiful conversation about what it means to mean something to someone, how people put themselves on the line for those they truly care about.

And of course, there’s how the episode ends, with a thundercloud rolling in, the promise of home on the horizon. Will our heroines actually leave? After this episode, I think it’s very up in the air. It’s clear that the two halves of our cast care for each other a lot, but there are still three episodes to go, so there’s plenty of time for interesting developments.

Oh, and can I say? Starting the episode by immediately catching the viewer off-foot with the altered OP sequence? Brilliant.

Other

Ano Hi no Kanojotachi: day09 Miu Takigawa

It has been five years since early lockdown-era idol anime 22/7 tried, and failed, to reinvent its genre.

22/7 the idol group, though, have ticked on. They still exist, and have persisted through a variety of lineup changes, a notably rocky history that has resulted in multiple changes in direction for their sound and, admittedly, given them more of a fanbase than you might assume if you don’t follow idol stuff very closely. Takigawa Miu, the group’s center, was one of two remaining original members. As you can glean from the existence of this short, she has now left. “Graduated,” as it is somewhat-euphemistically referred to among idol fans.

This short is ostensibly a sendoff. It’s not actually even narratively related to the 22/7 TV series (it has more in common with, and is presented as, an episode of the 2018 slice of life shorts that were created early in the lifespan of the project), but it marks the end of something, so it’s still significant, as both a point to reflect on what 22/7 was and is and what its existence can tell us in general about the circles of art and media it is a part of.

Miu’s vocal performances—both voice acting and singing—were provided by Saijou Nagomi. (She technically reprises the role here, but doesn’t speak, contributing only a few soft sobs at one point. These could easily have been provided by a fill-in or pulled from archive audio, but I’m choosing to assume some amount of professionalism here.) Five years is a long time in the entertainment industry, and watching this short, and its quiet melancholy, I cannot help but wonder how she must’ve felt to have it playing behind her during her farewell concert, as that is the context for which it was originally produced.

It is worth noting that Miu is Ms. Saijou’s only voice acting credit of any note, and if she’s ever released any other music, I was not able to find it by doing a cursory search. Still, a glance at her Twitter page indicates she was keeping it professional up until her very last day in the group. There is lots of talk over there of cherishing every moment she spent with her fans and so on. As of the time of this writing, the most recent post is a handful of images from the farewell concert. Some digging reveals she intends to largely make the transition to behind-the-camera work as a photographer.

The short itself largely portrays Miu in transit; first coming home on a bus, and then, after quietly crying to herself in bed, going somewhere that looks an awful lot like a college or new school of some other sort, in what is either a dream sequence or a flash-forward. It’s definitely playing into these sorts of thoughts; where is she going from here? Is she happy? Does she have regrets? On some level, all of that is as much an emotional manipulation as any of the more obvious work done by any number of more traditional idol anime—before or since—that 22/7 sought to join the ranks of and perhaps surpass. (And we have to give credit to Wonder Egg Priority director Wakabayashi Shin that this is imbued with such emotion in the first place. The short has no dialogue, as mentioned.) Still, it’s overall a surprisingly moving piece of work, and one that feels ever so slightly out of step with where the medium’s sensibilities currently are, with its vibrant and shiny lighting that feels so tied to the visual aesthetics of the last decade as opposed to this one. I said it’s a long time in the entertainment industry, but honestly, five years is a long time for anyone. The short is a potent, if brief, reminder of this.

The last scene of the short shows us Miu, on a bus, looking back at the camera. We don’t know where she’s going, but she is going. It’s hard not to feel happy for her. And as strange as it may be to say, that shot, as it fades out for the final time, is probably the most 22/7 has ever affected me. Perhaps tellingly, it did it without “subverting”, “reinventing”, or “deconstructing” anything.

And that’ll be all for this particular week. As always, I ask that if you enjoyed what you’ve read here (or just enjoy my site in general), you consider a donation to my Ko-Fi page, it helps immensely, and helps keep the site up and running.

For this week’s Bonus Image, please enjoy the title screen of Coffin, perfectly evocative of the evolving title screens of RPGMaker games and indie visual novels of both the past and present.

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Posted on July 18, 2025 in The Weekly Orbit

The Weekly Orbit [7/18/25]

The Weekly Orbit is a (sometimes) weekly column collecting and refining my more casual anime- and manga-related thoughts from the previous week. Mostly, these are taken from my tumblr blog, and assume familiarity with the works covered. Be wary of spoilers!

It’s been a minute! But I am a bit over belaboring the point; I do these when I have the energy to do them now.

Thus, a roundup of what I’ve watched this past week.

Seasonal Anime

Gachiakuta – Episode 2

I watched this while, among other things, clipping my toenails, which feels about right.

Jokes aside, I am a bit stunned by how non-invested I still am in this story. It’s cool that the show is willing to be genuinely kind of gross and unpleasant, given that it takes place in a giant garbage dump, but I also don’t really feel much for the main character which makes his rage hard to empathize with even if his reasons for it are completely understandable. He just—there is no politer way to put it—comes off as a bit cringey. It’s a teenager’s idea of what having real problems is like. “What if everyone was mean to you constantly and betrayed you and treated you like shit and it made you so mad that your secret superpowers awakened?” Again, I’m criticizing a show for kids here, so I don’t wanna be too mean, and if some 15 year old thinks this is the best thing ever I’m not gonna tell them otherwise. But it just feels a little short on actual ideas or stakes to me so far.

Enjin [Konishi Katsuyuki]—Umbrella Guy as I will be calling him—is kinda cool, but not enough to be a supporting cast on its own, so hopefully we start meeting some of the other people in the OP sooner rather than later. The bit at the end of this episode with the other poor Groundlings just stunned me. I realize this is probably not what the show is *trying* to say, but it sure feels like we’re doing something to the tune of “Yeah, rich people who destroy the environment are evil, but do you know who’s also evil? People who are too poor.” And I simply cannot get onboard with that, if I’m honest.

When I first wrote this over on tumblr I mentioned that I wasn’t dropping the show yet because I wanted to give it another chance, but it’s a bit more up in the air at this point. The series’ third episode has been delayed on account of election coverage in Japan, and I find it harder to imagine I’ll still have time and mental bandwidth for this show in two weeks. We’ll see, though.

Ruri Rocks / Introduction to Mineralogy – Episode 2

A delightful second episode from this one. I like Ruri’s little bit of character development over the course of this episode where she goes from being disappointed about the financial lack of value in pyrite to refusing to sell a rare gold sample because it means more to her to have it than having the money would.

Overall, I’d say this show is more cute and lightly entertaining than anything, but in moments like the one where she finds that lump of gold, the series really does come alive in a very vivid and poetic way. I hope to see it lean more into that going forward.

Turkey! Time to Strike – Episode 2

I was a little worried that Turkey would—aha—fumble the ball when it came time to commit to its actual premise as opposed to its fakeout faux-premise. I am pleased to report that this has not happened.

There are a few hiccups in this second episode, but not anything major, and by all indications this is about to be a really nice little time travel adventure series. I like how era shocked the girls (understandably) are throughout much of this episode, although the bandits who try to assault them are maybe a little too much of a jump from episode one right out the gate. Still, overall this was great.

If I have to give a shout out to any one moment in particular, it’s at the very end of the episode. Suguri [Inoue Kikuko], a Sengoku warrior who rescued the girls from the bandits (and was then rescued by them in turn when he was captured), takes them to the estate he lives on. There, we see that a character we’ve yet to properly meet, but who Anilist tells me is named Sumomo [Hidaka Noriko], is playing what can only be described as Sengoku-era bowling. It’s hilarious, and is the culmination of a surprising amount of bowling related trickery in this episode. (Have you ever wanted to see a Sengoku-era bandit get clubbed in the head with a bowling ball? Turkey delivers). The plot twist at the end of the first episode is that this is not a show about bowling. The plot twist throughout episode two is that, actually, it very much is about bowling.

Necronomico & The Cosmic Horror Show – Episode 3

So first of all, I cannot fucking believe there’s a completely straight-faced “if you die in the game….YOU DIE IN REAL LIFE!” in here.

Secondly, wow, the male characters on the human side of things sure completely fucking suck, huh? Other than I guess maybe Hat Guy, whose whole deal we don’t really know yet. This episode sees Eita—the gamer, you’ll recall, and the guy I flagged as the most annoying character in the first episode—betray the almost-as-annoying mangaka character NAO-KICHI [Ichikawa Taichi], tricking Nao into trapping himself in with one of the enemies in this particular death game. (At least partly because Eita was a fan of Nao’s manga but hated its ending. Can you imagine this happening to, I don’t know, the Jujutsu Kaisen guy?) Eita is theoretically more interesting as a villain, but in practice he’s about the same level of insufferable, just to different ends. It doesn’t help that his entire motivation seems to be that he thinks the world is “a shitty place,” which I guess entitles him to be Gamer Light Yagami. He also gets caught gloating at Nao’s death, meaning that his good guy cover is blown almost immediately. Rather incredibly, this happens while he’s condescendingly telling Nao that it’s easier to fool people if they think they’re smart. You don’t say?

Elsewhere in the episode, the teacher character “hilariously” admits he’s a pedo, which would maybe inspire some kind of reaction in me if I had previously thought about him even a little bit. Like, I didn’t care about this character before, but you’ve given him one defining trait and you’re treating it like a joke, so what am I to do with this information? It comes off as very amateur hour, and is pretty easily the worst and dumbest thing in the episode.

Cthulu is a highlight here, and I like her unironic shoujo villain laugh and I hope we get to hear it many more times over the course of the show. Other than that, this is turning out to be a bit of a trainwreck so far. Entertaining, but perhaps not for the intended reasons.

CITY The Animation – Episode 2

I think this is a list-topper of “anime whose worlds I’d most like to spend a two week vacation in.” I know it’s basically just Japan but it’s so utterly whimsical and fantastical that it just makes me want to live there. Also, the after-credits sequence with the demons was fantastic. Maybe the funniest single bit in this show so far? I just about cried when the Ars Goetia demon showed up.

My Dress-Up Darling Season 2 – Episode 2

Another delightful episode this week. The whole “Marin getting sick” plot was really sweet and well-handled. I said this on bluesky but I love how much of this show is powered by the fact that Marin is both a super hot gyaru and the sort of loser who’d own an ahegao shirt. One finds character depth in contradictions, even very silly ones. (Of course, much the point of Dress-Up Darling is that there’s not actually that much of a gap between these things as one might assume.)

As for the new character, the crossplayer, I’m a bit undecided. I feel like as a trans woman I’m kind of expected to have a kneejerk negative reaction to femboy characters. (Maybe that expectation only exists in my head? I’m not sure.) But I think this guy is fine. He seems nice, and the ending scene that gives the episode its title is funny. I’m obviously hoping we don’t do anything weird or offputting with him, but this show has never been like that, so I don’t think it will.

Anime – Non-Seasonal

California Crisis: Gun Salvo

Honestly, this is pretty much exactly as fantastic as everyone who recommends it says it is. Just 45 minutes of California as imagined by a Japanese creative team [led by Video Girl Ai director Nishikubo Mizuho], and it’s maybe the most flattering depiction of the US ever put to film. Bright, sunny, summer days, hot, neon-lit nights, filtered through a light sci-fi plot that essentially just kinda stops at the end of the movie. The narrative isn’t the point, though, as this is a visual showcase first and foremost and it’s a fucking great one. I see why people love this so much.

Posted on July 11, 2025July 11, 2025 in anime, Seasonal Impression Roundups

Seasonal First Impressions: Summer Stragglers & Sequels

Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.

You know how this goes. This time I’m also doing some writeups on sequels for shows I’ve previously covered here on MPA. Other than that, business as usual for one of these roundup posts.

Gachiakuta: A new shonen series, and an alright one overall so far, I think. It’s very edgy, and the social commentary is so heavy handed you can physically feel it while watching. But, I think this is if some teenager’s first exposure to a story that explores class dynamics that’s cool. Personally I think I am maybe a bit too old for this (a feeling I do not have with better shonen anime despite that still being kinda objectively true with those as well) but I’ll give it another episode, it may win me over.

Hell Teacher: Jigoku Sensei Nube: The problem I always have with anime remakes, and I have them even—maybe especially—when I haven’t seen the original, is that I’d usually rather watch the original, because you can often tell that they’re trying very hard to translate the OG’s style into the current anime landscape. The end result here is an anime that has a bunch of faux-90s affectations despite everything about the show screaming 2025 in terms of direction and animation.

I didn’t think this was bad by any means, and I actually liked the action sequence toward the end of the first episode quite a bit, but I feel like it’s more likely that the rest of the show will look more like the first half of the episode; a parade of pretty lifeless classrooms and just general visual flatness. I’m not sure what to think of it overall beyond wondering if this really does much of anything for anyone. I enjoy shows with this sort of premise, but wouldn’t it have been better to come up with something new instead of just rehashing an IP from 30 years ago? Granted, I get the business reasons for doing this—teenagers who grew up watching the original are in their 40s now and are prime nostalgia market targets—but that doesn’t dampen that the entire endeavor feels rather cynical.

Hotel Inhumans: In a world with seemingly about a thousand replacement-level narou-kei per season (look a few spots below for one of them), it’s really reassuring that something can occasionally step up and show them that it’s possible to suck in interesting, standout ways. Marvel at the unambitious direction and storyboarding, stand in awe at the all-suggestions, incredibly broad writing. Wince at the frightfully generic character designs. Listen to the soothing sound of the hilariously bad music placement. They just do not make many anime that are this hilariously incompetent anymore. If Hotel Inhumans has a selling point, it’s as a throwback to the way bad anime used to be bad 20 years ago, which is only a shame because the core conceit is interesting enough that I imagine the manga this is based on might actually be good. Still, if that appeals to you, then by all means, load it up.

Milky☆Subway: The Galactic Limited Express: A friend¹ put me onto this one, and I’m quite glad they did. In overall vibe Milky Subway has a lot more common with other web cartoons I’ve seen than most anime per se, but that’s fine. You’ve got a thing here that takes place in some kind of wacky far-future sci fi setting where there are physical highways and train lines linking different planets. Our two leads are a pair of I’m just gonna say girlfriends, respectively a robot and a demon, who in the short that serves as a setup for this series (“Milky Highway”) get arrested for speeding after they get too into a retro pop song that comes over their car radio.

The action is very fun and snappy and I enjoy the first short a good bit for that reason. The second sees them being press-ganged into community service, to clean a bunch of subway cars. Somehow, this ends up with the robot getting decapitated, although I can’t imagine she’s actually dead-dead given the largely upbeat and comedic nature of these shorts. The proper series (which is what Milky Subway is) will, I suspect, be a how-we-got-here leaning up to that sequence of events.

All told, it’s pretty fun. The setting is really unique and the art is quite fun. The voice acting is also excellent, it has a conversational, casual fuck-around vibe especially in the quieter scenes, and you get the sense that everyone here—including the officer overseeing the other characters’ community service—is in way over their heads. Also the look of the show is Interesting. I’d again compare the art, which is full-3D CGI, reminds me more of, I suppose, Amazing Digital Circus or something? Hardly the best comparison but it’s where my mind went. Overall, this is a very unique little thing. The only “complaint” I have is just that with only 4ish minutes per episode it’s a bit on the slight side, but that’s pretty minor overall. Even then, that’s a benefit, too, since their being so short means they’re very easy to recommend.

KAMITSUBAKI CITY UNDER CONSTRUCTION: I have been a fan, admittedly an off and on one, of v-idol group The Virtual Witch Phenomenon for a few years now, so I was pretty excited when they got their own anime announced. Having since watched the first episode (or technically “zeroeth” episode. Remember that convention? Not the only late-00s/early-10s thing about this show), and indeed the second, since I first wrote the version of this that’s going up on tumblr, I’m pretty baffled by the whole thing.

Despite what one might expect, given that this is being helmed by Ave Mujica director Kakimoto Koudai this isn’t really a music anime in the conventional sense. It’s more of a Madoka Magica / Yuki Yuna / etc. kind of thing. A grisly, dark magical girl series of a sort that was more popular about a decade ago. It stars the V.W.P. playing characters loosely based on themselves. KAF plays Kafu, the main character, which makes sense given that she’s the group’s center. She acquits herself decently as a voice actress, although I imagine most of her sung material (this is also a musical? Sort of?) being in her very high, whispery and peaky register might be a bit of a divisive element for some. (Personally, I’m fond of it, but I could imagine someone not being so.) Despite this, the music is the inarguable highlight here. Everything else is a lot more scattershot.

Visually the show is….okay? Not great. My main complaint is the rigging. This is a 3D series and in slower and more emotional moments the model work is pretty stiff, which is unfortunate. The other aspects of the visuals, especially the use of color and lighting, mostly mask it, but it’s occasionally noticeable. The action scenes are probably the visual highlight, and there are solid setpieces in both episodes to date, but that’s only one element of what the series is trying to do.

My main issue is just that both episodes are incredibly exposition-heavy but manage to be very low on context or stakes in spite of that. Of all things, a giant fish (originally from the “Eat The Past” music video, I think? Admittedly hardly the only music video it’s been in) is a main character, and can also turn into a cute anime boy, Laplace [Sakura Ayane]. He more or less serves as Kafu’s magical girl companion. That’s all well and good, but the premiere just stops dead after its first action sequence so he and a weird bird thing he summons can explain how the setting’s magic works in detail, which is pointless of course, because it’s all technobabble anyway and mostly boils down to “Kafu’s singing makes people feel things and therefore is magical.” In general there’s just a lot of talking, and it’s all a bit much. There are also two time skips by my count in the first episode alone, although the framing of these scenes makes whether they’re actually timeskips or not a little unclear at first, so the series just feels generally very bogged-down and disjointed, with an overall poor command of the basics of visual storytelling.

Initially, I was unwilling to write the show off, but having now seen the second episode, I think I’ll be steering people away from it, as the second episode is unfortunately more of the same. It’s cool that Kafu and the other girls are basically a magical girl Justice League now, I suppose, but the fact that all of the fighting is left to their companions makes this feel pretty hollow. (It’s not just Kafu, all of the VWP girls have a cute anime boy that doubles as an animal summon / stand / whatever. This not only doubles the size of the cast, it also makes the girls themselves, the ostensible focus of this whole series, feel pretty superfluous even if their magical singing is also nominally important.) In general, there’s just a deep incoherence here. A user on this site’s Discord server said Kamitsubaki City “radiates mixed media energy,” and I can only echo their sentiments. I’m not opposed to the format in general (two of my favorite anime this year, Ave Mujica and Cinderella Gray, are part of large multimedia franchises), but this is an example of the form being done pretty poorly. I like the big hat that Sekai [Isekai Joucho‘s character] has. Other than that, unless you’re truly starved for current magical girl-esque anime (and I’m weighing as I write this whether that describes me or not), you can give this one a pass. This entry probably could’ve been its own article. Oh well!

Onmyo Kaiten Re:Birth Verse: Sometimes I like to describe the premise of a series when starting one of these, but that’s difficult here because I barely have a handle on what that premise is. Very basically, it seems like our protagonist got Vision of Escaflowne’d at some point before the start of the series, but then he got sent back to his own world (implicitly our world), and then, not ten minutes into the first episode, he gets isekai’d yet again. He notes that this his 2000th time, so clearly the sheer amount of times he’s been through this is something we’re supposed to pick up on.

But he seems impossibly ignorant about the general mechanisms of this “ability” of his (if it’s indeed even something intrinsic to him at all), and doubly so about the world he ends up in, which is a blend of Heian-era Japanese aesthetics and mecha sci-fi. Twice in the same episode, he encounters “the mist,” black fog that summons monsters and freezes innocent townsfolk in their place. The second time, he turns into a black and blue tiger-oni-monster-thing and can fight it off for a while but he gets completely owned by the end of the episode and gets isekai’d again, except this time he ends up in the Heian-Sci-Fi world at the point he visited earlier in the episode.

It’s not that any of this is confusing per se, but it’s all delivered so rapid-fire and so nonchalantly that none of it has much impact, so it’s both a bit hard to follow and hard to care. Combine that with the generally unappealing design work, the extreme hoariness of some of the writing clichés at play here (there are two different “main guy falls into main girl’s boobs” gags), and you’re left with less the amount of unanswered questions you might expect of a first episode of an anime and more just a very weird and disorienting sensation of having been thrown into the middle of something in a not-entirely-intentional way. I have no idea what to make of this at all, and I might just watch an episode or two more just to get a better handle on it.

Ruri Rocks / Introduction to Mineralogy: Impressively, this geologically-minded slice of life series from main Studio Bind director Fuji Shingo is quite possibly the best-looking thing to premiere this season. And if it isn’t, it’s at least in an easy top five. Given some of its competition, that’s quite the feat. Replacing mono as my once-a-season-if-I-can-find-one “sightseeing” anime, Ruri Rocks is a funny, laid-back slice of life comedy about minerals. There’s a real sense of inspiring awe at the natural world in this one, and the garnet pool sequence at the end of this episode is easily one of my favorite visual moments in anything that’s come out this year. The show is surprisingly educational, too, if you’re interested in the actual science of how rocks form. I can, in theory, imagine the fanservice maybe being too much for some, but other than that one caveat, you’ll probably want to at least give this one a shot.

There’s No Freaking Way I’ll Be Your Lover! Unless….: Socially awkward girl Amaori Renako [Nakamura Kanna] is rescued from a life of loneliness by her beautiful blonde classmate, a total alpha named Ouzuka Mai [Oonishi Saori], who then decides she loves her. Renako doesn’t want that, thus leading to a series premised on, basically, gay chicken. They spend odd days as a couple and even days as friends, Renako trying to make sure they stay just friends, Mai trying to ensure that Renako falls for her. An entertainingly weird premise, and it lends the show a madcap energy that I actually really like quite a lot.

I think the visuals really help sell it; the actual drawing quality is a little up and down, but the animation is extremely fluid and expressive, and in particular the way the show’s colors are done is a huge part of establishing the energy of the adaptation, placing it somewhere pretty far from reality, despite the surprising depth of the character writing. (Most obvious, this early on, on Renako’s end.) Everything is super bright, there are almost no shadows, and a lot of the backgrounds have minimal detail, leading to them looking sort of like, I don’t even know, city pop album covers or something. It’s a really interesting visual identity for something like this, and shines brightest in a scene in the second half of the first episode where Mai takes Renako to an expensive hotel’s pool. It feeds into the zany but slightly bittersweet vibe of the subject matter to make one of the stronger premieres of the season. I will definitely be keeping up with this, and if you’re on the lookout for a good yuri pickup, I recommend you do the same.

The Water Magician: It’s so fucking tired to complain about bad isekai, but this one had an okay looking trailer and a pretty key visual, and I checked it out, hopeful that it would be a rare standout, or at least better than the baseline of uninspired drivel in this format that continues to trickle out season after season. It was not. Protagonist Mihara Ryou [Murase Ayumu, an actor I normally like] is reincarnated into another world, learns he can use water magic, and spends most of the episode reading a D&D-ass monster manual about the Big Scary Animals that live in his new neighborhood. There are some mostly pretty bad fight scenes. There’s an icebox in his house. It’s all very passé. There’s a dullahan, which is so out of place that it’s the one interesting element to grasp onto here, but even mentioning that much is me doing the show a favor. Everything feels so perfunctory and workmanlike that, even if you are a huge fan of this genre, I can truly not imagine getting anything out of this at all. There’s some alright water animation, as you’d expect from the premise, but other than that there is not a single fucking thing worth talking about in this show. It’s just total ass. It looks bad, is written badly, and isn’t really about anything. I can’t imagine anyone wanting to write this and I can’t imagine anyone wanting to watch it. Easily the worst premiere I sat through this season

And now, the sequels!

Call of The Night, Season 2: An interesting return from the vampire quasi-romcom here. I’m undecided as to whether or not I’ll actually keep up with this one. Despite really liking the series when it originally premiered—I rated it pretty highly on my 2022 year-end article—that was three entire years ago. This episode is very quiet, essentially picks up right where the series previously left off, and honestly it’s not terribly visually ambitious. But I do concede it was nice to hear from Nazuna and Ko for the first time in a long time, even as they’re still figuring out what precisely their relationship to each other actually is, and the show’s nightscapes remain lovely, so maybe I will stick with it. We shall see.

DAN DA DAN, Season 2: My main thought here is that this is an unfortunate and pretty noticeable visual downgrade from season one, which does just kinda suck. This is most obvious in the area of the color choices, which were much duller and less vibrant in this episode than they would’ve been back then. Pretty unfortunate! I’m gonna keep watching to see if it improves but I admit the first episode being so visually lackluster took a bit of the wind out of my sails with this one. The fact that I’ve since gotten mostly-current on the Dandadan manga probably isn’t helping, given that I know what to expect from the series at this point and my honeymoon period with it is several months in the rear view. Still, it wasn’t a bad first episode by any means (although all the usual caveats about Dandadan apply), and this series has the special status of being something I’m watching with a group of friends, so I will be keeping up with it regardless.

My Dress-Up Darling, Season 2: Here’s something to chew on. For some reason, this episode is called “Wakana Gojo, 15 Years Old, Teenager.” No, I do not know why Gojo is being reintroduced to us by All-Star Batman. This quirk aside, I was very happy with this episode overall. My Dress-Up Darling holds a bit of a special place on this site as easily the most popular series I have ever written about (seriously, you guys should see my statistics. Individual episode writeups for MDUD consistently clear almost everything else I put out). I started covering it because of a community vote back in 2022 when it first premiered, and it makes me very happy that, in spite of the gap between seasons, MDUD returns like it never left.

This is in fact easily the strongest return showing of anything here, and makes for a pretty dizzying display of technique. An array of different visual styles and well-timed gags make this one of the most purely fun premieres of the season period. Shinohara Keisuke and his team on are on top of their game here and I really cannot stress just how much fucking fun this premiere is. The opening few minutes are an anime-within-an-anime once again, and they’re so convincing that I actually briefly thought I’d opened the wrong series somehow. (This time, the subject of the episode, TsuCom, is a pastiche of the sort of zany action-comedies that were popular in the late 90s to early 00s. You can easily imagine this kind of thing having originally been a limited-run OVA of some sort before eventually popping up on RetroCrush years later.)

The episode follows Gojo’s attempts to make a bunnygirl outfit for Marin, and as is the norm with this series, this simple premise leads to tons of total goofball shit that really must be seen to be believed. My particular favorite gag ensues when Gojo talks to a fabric vendor and accidentally puts him under the impression that the bunnysuit is for Gojo. This man then has a whole awakening, reasoning that in the modern day, men can absolutely wear bunnysuits and he shouldn’t be so surprised by all of this, only for Marin to appear and for the man to realize his mistake. Obviously, as with all gags centered on pacing and presentation, this is much funnier to watch than it is to have relayed secondhand. Still, my point is that this episode is supremely funny. It’s also quite sweet in places! The episode ends with Gojo attending a Halloween party with Marin and some of her other friends, and he feels rather out of place until Marin mentions his doll-painting to someone else. Initially, he tenses up, but because everyone is impressed and interested in his dolls as opposed to put off—these are a bunch of otaku with varying offbeat hobbies of their own, mind you—the episode ends on a high note, with him finally feeling like he’s found somewhere he belongs. Frankly, I think I actually appreciate Dress-Up Darling now more than I did when I watched the first season. With hindsight, I think I spent far too much of my coverage of the show hemming and hawing on if its fanservice was “okay” or not. Full disclosure, that returns in full force here, too, but if you’re two seasons into this show you know what you’re getting at this point. So let me just say it for the record and wholeheartedly; I am really glad to have this show back.

1: Hi Josh

Posted on April 1, 2022April 2, 2022 in anime, Misc. Anime, Reviews

(REVIEW) The Lost Legacy of FLOWER PRINCESS BLAZE!!: How a Forgotten Toei Series Shaped 15 Years of Magical Girl Anime [April Fools’]

This review contains spoilers for the reviewed material. This is your only warning.

“This world was not made for us. But I understand now that it’s the only one we have.”

For most here in the west, the history of Toei‘s forays into the magical girl genre begins with Sailor Moon, a monstrously successful franchise that is widely beloved to this day. If they know a little more, it ends with Pretty Cure, another monstrously successful franchise that is widely beloved to this day. Those with a still more slightly expansive knowledge of the company’s history might also be aware of Ojomajo Doremi, a marginally less successful franchise that is still beloved enough that it spawned a sort of distant sequel film, Looking for Magical Doremi, as recently as 2020, a full fifteen years after its original conclusion. Those who particularly care about the genre might point out that they’ve made all sorts of magical girl anime over the years, including Himitsu no Akko-chan, one of the very first. Regardless, all of these anime get their flowers from those in the know, and none could rightly be called overlooked by anyone with a decent knowledge of the medium.

But the same is not true for every magical girl series they’ve made.

The year is 2006. Futari wa Pretty Cure has just ended its second and final proper season. Alongside Splash Star, a reboot of the Precure IP, Toei launches a second action-oriented magical girl offering; Flower Princess Blaze!!

Time and the language barrier have rendered this decision obscure and puzzling, but in the moment, it must’ve made sense. Splash Star was the “safe bet”, essentially a retuning of the original Pretty Cure concept. Blaze was the wildcard; stranger, more experimental, and airing a bit later in the day. (Perhaps aiming for a slightly older audience–the 10-14 demo, perhaps–than Pretty Cure and its predecessor Doremi did.)

Splash Star has proven divisive over the longview of history, but in the moment, it absolutely crushed its younger sibling in terms of popularity and sales. Flower Princess Blaze did not do badly; it pulled decent ratings and sold decent amounts of tie-in merchandise. But it was nowhere near as successful as Precure, and “decent” only goes so far. That is perhaps why, when its second “season” concluded in late 2008, the IP was shelved.

(Technically, when airing, the show was split into two “seasons” which aired back-to-back with only a short break between them, Flower Princess Blaze and Flower Princess Blaze!!–yes, the exclamation points are the only difference in title–but the distinction is minimal, and the few later releases of the series haven’t made it, applying the second title to the series on the whole and treating its combined 126 episodes as a single, sprawling saga. The only place I’m aware of that still draws a line between the two is Wikipedia.)

To this end, Toei evidently decided their grand experiment had failed, and cut back to just one girls’ anime. Pretty Cure soldiered on and continued to be insanely popular, but its shadowy younger sister disappeared like a thief in the night, never to be heard from again.

Despite this, Flower Princess Blaze has proven to be quietly influential, with a diverse array of artists and industry figures both within the anime medium and without citing it as an inspiration. Puella Magi Madoka Magica‘s soul gems were taken directly from this series in all but name. And not one but two Pretty Cure seasons–Heartcatch and Happiness Charge–would later make fairly obvious homages to some of its villains.

Even outside the specific lineage of Toei magical girl anime, there are nods in works separated by space, time, and even medium; Steven Universe‘s Gem Homeworld draws on the Midnight Kingdom for architectural inspiration, Wish Upon the Pleiades xeroxes its finale outright, Anime-Gataris features the show’s real-life director as an in-show character. Most recently, and perhaps most famously, My Dress-Up Darling licensed the name and worked actual footage from the series into its own plot, giving lead girl Marin a fixation on secondary villain (and fan favorite) Black Robelia, (rendered “Lobelia” in that show’s official subs) whom she cosplays in several episodes.

And yet, in spite of the shadow it casts over the past 15 years of the magical girl genre, the series remains fairly obscure, especially in the west. Well, I’m not naïve enough to think I can change that on my own, but perhaps this, combined with the renewed interest from MDUD’s cameos, can help a little bit. Today, we dive into one of the strangest magical girl sagas of all time. Wilted flowers and shattered crystals. A hundred worlds in peril and the six girls who’ll save them. Midnight cities and a battle at the end of the universe. This is Flower Princess Blaze.

It starts out so simply. We follow two girls; one of them, Mirai Tengeji / Princess Daisy (Sakura Tange), cast in the then-young but already-typical mold of the upbeat, peppy lead magical girl. She has her foibles (the most obvious of which being her comically rough manner of speaking), but she is certainly what we’d now recognize as the most “typical” of Blaze‘s characters. With a minimal amount of tweaking, she’d fit right in with any given Pretty Cure season.

But she’s not the real main character, not really. Much of the show instead centers on her rival–then friend, then rival, then friend again–Shion Nikaido / Princess Lily (Rumi Shishido). Some context: it’s established before too long that the Midnight Kingdom, the requisite baddies-of-the-week, both a group and the physical place they hail from, form when ordinary people fall into despair, that word that translated anime love to use as a catch-all for negative emotional states. That’s not a background detail; each and every episode features someone, whether it’s a minor one-off character or one far more important, joining the Midnight Kingdom. Sometimes they’re rescued by episode’s end, but it’s far from a sure thing. As such, even early on, Flower Princess Blaze operates with a level of intensity and tension very rare for children’s anime.

At the climax of the series’ first major arc, Shion, learns that her own sister (and former comrade) Neon, (Houko Kuwashima) joined the Kingdom’s ranks after abandoning her position as the Flower Princess Hydrangea.

The revelation that Neon and Black Robelia are the same person remains one of the show’s most iconic twists, eventually fully elucidated in flashback, as does the ensuing scene. Hints peppered throughout the show’s first cour that Shion and Neon are not blood related come to a head here, where Robelia lays out her motivations plainly. People look down on them for their familial situation, she feels like a burden on her parents, she basically flat-out says she wants to die. She’s sick of the world and wants to burn it to the ground. (Her heartbreak over teenage crush Soma probably didn’t help either. Although I think some reads of the character over-emphasize that point.) But this scene is illustrative for another reason; in most magical girl anime, at least those aimed at a young audience, this is not a point of view that would be given any serious credence. There’d be a rebuttal, Shion would assure Neon that people really do love her, something.

But earlier in the episode, Mirai tried that on Shion, and the two had a (comparatively rare for the genre) mahou-on-mahou scuffle. It’s perhaps for that reason that Black Robelia’s speech is so effective that Shion actually defects too. Her flower crystal goes black, and the Midnight Kingdom gains another soldier. This sets up a pattern that recurs three more times over the remainder of the anime, until Mirai is eventually the only Flower Princess still standing. (Not for nothing is Flower Princess Blaze one of the few magical girl anime I can name where the bad guys are also given henshin sequences.)

One of the reasons that the late-series development of all the Princesses eventually shaking off this evil influence feels so well-earned is that we know why they felt this way to begin with. It’s the old adage; no man is an island. Or, well, no little girl in this case.

There’s a lot of good in this show, and much I haven’t mentioned (the other three Flower Princesses; Anemone, Azalea, and Rose, all get solid character arcs as well.) But that’s not to say the series is flawless. Something that Dress-Up Darling lightly pokes fun at when discussing the show is that it’s 126 episodes long. By the standards of the day, that probably didn’t seem unreasonable. For many modern anime fans, however, it’s untenably long, not helped here by the fact that Blaze is a victim of the same spotty visual consistency as any anime of that length. (Plenty of episodes look great, but plenty of others look…well, less than great.) It’s also the only magical girl anime I’ve ever seen with a form of Dragonball Z‘s fight length problem. There are a few encounters in the series that take up entire episodes or even several episodes in a row, and while that certainly does make them feel suitably epic, it can make a few stretches of the show feel oddly empty, too.

Not helping matters is the fact that the show’s main big bad, The Wilt Princess Spiderlily (Minami Takayama), does not appear at all until episode 60. She does not appear in person until almost 20 episodes later, in episode 78. There is a fair amount of running around, here. Adding to this is that while the defection of one of the Flower Princesses to the Midnight Kingdom is shocking the first time, it does become a bit predictable by the time Rose, the last of them, falls to the darkness. Although Blaze doing the whole “adding magical girls to the team as the show goes on” bit in reverse is certainly not something I’ve seen before or since, and Mirai’s few episodes totally alone are suitably harrowing.

This all said, even in its less substantial stretches, there’s a lot to appreciate. The surreal atmosphere of the Midnight Kingdom itself, which our protagonists eventually visit–as well as the surrounding Land of Sadness–is just wonderful. In the second half of the series, Mirai and the remaining princesses leap across a good dozen different worlds when the Earth itself becomes too inundated with negative magic for them to stay.

At show’s end, The Princesses are eventually turned back to the side of good, in some of the show’s best episodes. There is of course a magical doodad, the Miracle Seed, which they assemble. Reunited, they’re faced with a choice. Spiderlily lays it out for them plain; they can destroy her with the artifact and end the threat of the Midnight Kingdom forever, but if they do, they’ll be sent back in time. From our perspective, just before the very first episode. Their memories will not stay, and they’ll forget all the times they’ve had together. A square-one reset, like the whole thing never happened.

Of course, none of them hesitate, and we are treated to a shockingly rough scene where Spiderlily dissolves into red smoke as the girls’ memories are literally ripped from their heads. Time rewinds, and for 5 of the last episode’s final 15 minutes it really does seem like we just watched the entire series be undone in an instant. We soon learn one person does remember, Mirai, whose companion is the only one who seems to have survived the time reset. The exchange that follows, as Mirai breaks into tears and her fairy tries to comfort her, is one of the most eerily prescient in animation history, given the series’ obscurity. Especially the mention to the now ex-magical girl that even if no one else remembers their adventures, they still happened. Forgetting does not undo the work they’ve done.

Of course, both within the show and without, it turns out that people do remember. There’s a brief timeskip to the following day, and Mirai’s interactions with Shion are cold until she lets slip a small detail from their now-past lives. At this, Shion’s demeanor changes in an instant, and the two break into happy tears. The montage that follows weaves some adorably fluffy nonsense about how the strength of one’s heart means that true friends never forget each other. It’s a sweet, and surprisingly simple, end to one of the wildest rides in mahou shoujo history.

After its conclusion, the Flower Princess Blaze IP, as mentioned, was shelved. Enigmatic director Ryusei Nakao (no relation to the voice actor of the same name) had an apparently acrimonious (sources differ) break with Toei over this fact and dropped out of the industry entirely. It’s unfortunate, since Nakao’s distinct style does lend an unreal air to the show, especially with regard to the surreal liminality of the Land of Sadness episodes. Most other staff on the project went on to other things, largely much more successful than FPB had been. (Some, including character designer Yoshihiko Umakoshi, already known for his work on Doremi, would even work on later Pretty Cure seasons. Heartcatch in his case) Even with regard to the director, if he was only going to make one project, this is a hell of a legacy to leave.

Flower Princess Blaze has had a particularly bizarre half-life, not just for its genre but anime in general. Comparable in some respects to other non-Sailor Moon, non-Precure magical girl anime of the time period and slightly before. The main difference of course, is that there aren’t any fingerprints from Cosmic Baton Girl Comet-san or such on Steven Universe and whatnot. FPB’s legacy is paradoxical; forgotten by most but embedded into the very DNA of many far more successful anime.

There is one famous example, in particular.

I have heard it claimed that Homura Akemi is directly patterned after Shion. (The show’s TVTropes page once called her an “expy,” site slang for a copycat character, until some roving Madoka fan removed the line, and to be fair, not without reason.) There are definitely parallels to be drawn between Shion’s quest to save her sister and Homura’s to save Madoka. There are important differences here, though (for one thing, Shion is only subjected to a time loop once, and it’s along with everyone else. Shion also fails pretty early on but unambiguously succeeds once she becomes the first Princess to return to the side of good. A very different structure than Homura’s story), and it’s important to not confuse influence with rote copying, but it’s hard not to see at least a faint resemblance. One can definitely see many traces of Flower Princess in Madoka in terms of mood and atmosphere as well, and the bizarre “Deep Wilt” creatures that the Princesses encounter later in their adventures are almost certainly one inspiration for the Witches. It’s an askew influence, and not purely 1 to 1, as some other anime bloggers with too much time on their hands have previously argued, but it is definitely there, and it continues to be a source of contention.

I would say that if Flower Princess Blaze really did inspire even some part of Madoka Magica (and it seems unlikely, all told, that it didn’t), that casts its shadow even wider, including to relatively recent fare like Wonder Egg Priority and Blue Reflection Ray.

But to an extent, the ongoing debate over its impact muddles a simpler truth. Even if FPB had inspired absolutely nothing, it would still be a damn good show. I said earlier that Flower Princess Blaze is obscure, and that’s true in the grand scheme of things, but it’s never really gone away either. In the late 2000s and very early ’10s, it made messageboard rounds as a stock “hidden gem you have to see” recommendation, alongside anime such as RahXephon and Read or Die. (It helped that it was given an excellent fansub treatment by one-off group Mid-Nite Subs in 2010.) It’s managed to stick around in some corners of the internet, both domestically and abroad.

It’s a decent fanart magnet to this very day, and if you stick your ears to the walls of those anime forums that are still around, it’s said you can still hear Shion / Neon shippers (hmm) fighting with Shion / Soma shippers (also hmm). This is to say nothing of the aforementioned cameos in Dress-Up Darling, which have reignited fan interest even further. (It’s worth noting that because of the MDUD dub, Mirai, Shion and Neon are the only three Princesses to have official English voice actresses; Luci Christian, Monica Rial and the ever-underrated Jamie Marchi respectively.)

Maybe, to cheesily echo Robelia’s famous quote moments before she returned to her true form, this world just wasn’t made for Flower Princess Blaze. But it’s become a part of it anyway, and its impact on anime–as a medium and an artform–is an inarguable good. That counts for a lot.

Until we meet again, Princesses burning bright with hope.

“Lustrous flowers bloom bright from dark soil. I believe that we, too, will live on in a way.”

Like what you’re reading? Unfortunately, the anime you just read about does not exist, and this post constitutes an April Fool’s prank of truly stupid proportions. Seriously, you have no idea how long it took to write all this and make it feel semi-believable, and that’s with me fudging a few details, like its alleged air-hour. Anyway, if you want to see me write in terms this grandiloquently pretentious about actual, real anime, (such as My Dress-Up Darling, where Flower Princess Blaze originated and which I covered week by week). 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. I don’t plan to do this again next year, but no promises. I figure, if you can’t laugh at yourself once in a while, what’s the point of even having a job this silly? PS: The joke is not that this anime doesn’t exist. It’s that I just made you read a fanfic formatted like a review.

Posted on March 27, 2022 in anime, Let's Watch

Let’s Watch MY DRESS-UP DARLING Episode 12 – “My Dress-Up Darling” (SEASON FINALE)

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

Ladies, gentlemen, nonbinary folks of the jury, our long national wet dream is finally over. Yes, it’s been a long twelve weeks, but here we are, at the season finale of My Dress-Up Darling. Before we even talk about this episode at all, let’s go over some facts of the prior eleven. Some of MDUD’s episodes have been spectacular, others have been pretty bad. This is an inconsistency not rare among anime or, honestly, among linear TV shows in general. Evaluating a run of episodes that includes both the former and the latter is difficult, especially since the “good episodes” aren’t entirely devoid of flaws and the “bad ones” aren’t entirely devoid of merits. Such are the limits of purely qualificative criticism.

One thing it has undeniably been, is successful, and while this is certainly the season finale I would not be at all surprised if the series were hastily renewed. An anime does not simply put an extra two million copies of its source material into circulation and not get a second turn at the plate. To argue that a second MDUD season is unlikely would be to argue that capitalist businesses aren’t actually that interested in making money. Things just don’t work that way. So, to put aside my own–and our own–collective biases for a minute, this is clearly a series that has connected with people in some way. Is it because Gojo is just really that relatable? Maybe it’s because something about Keisuke Shinohara‘s directorial style really resonates with The Youth. Or maybe people just want to wife Marin that badly. (Given the show’s target demo, probably at least some of that.) Maybe it’s all of these. But the point remains; MDUD is here, and it’s probably not going away any time soon. If you care about the current anime zeitgeist, it is at least worth consideration.

So, for the final time–at least for now–let us consider it. My Dress-Up Darling‘s 12th episode, its season finale, also called “My Dress-Up Darling”, begins with a heavy summer night hanging over Japan. A small breeze clinks a windchime as Gojo focuses on his first passion, dollmaking. He gets the sort of text that would send just about anybody–age, gender, whatever, aside–into a bit of a panic.

Cut to opening credits.

It is, of course, not actually that serious. She wants help with a costume thing and to vent about her dad not letting her go to a festival. Normal teenage girl stuff. Things happen, and our heroes end up A) working on summer homework and B) watching a scary movie. Also, somewhere in here Marin casually reveals that she has a side job as a model.

The horror movie itself is a real treat. We don’t see much of it, but, in keeping with MDUD’s prior visual ambition in this area, it’s animated totally differently from the rest of the series. The character designs are more grounded and realistic, and in general the visuals look like something out of the Boogiepop franchise. It’s pretty cool! Marin is scared witless by the film while Gojo nerds over costuming details, which, yeah, that sounds about right.

There are a lot of great character moments here, in fact. Gojo and Marin later end up needing to run to their high school to pick up some over-summer math homework that Marin left behind. (And, really, props to them, there. I don’t think you could’ve made me enter my high school over summer vacation if you put a gun to my head.) There’s a scene here where, after falling into a pool(!), Marin muses on how she loves going to the beach even though she can’t swim; to watch the Sun set and make the ocean’s surface sparkle, to talk with friends and eat tasty food. It’s a bit of quiet insight into her character that the show has done well a few times and I really hope it doesn’t let up on when the inevitable second season arrives.

Gojo gets his turn, too. He and Marin attend a festival after Marin finally does finish all her summer homework; one Gojo’s lived near for years but never actually gone to. There’s a lot of great stuff in this scene. Some of it, tropes that are so old to the genre that they’re practically cliche. Gojo is practically dumbstruck by seeing his love interest in a yukata, Marin buys way too much food, etc. But the one Dress-Up Darling works the best is probably the most classic. The fireworks go off; Gojo hears thunder and smells gunsmoke as a billion neon flowers bloom in the night sky. He spends more time looking at Marin than he does the actual show. Marin returns the favor by shattering the mood into a million pieces by goofily sticking out her tongue, which is a solid blue from the Blue Hawaii she’s been eating.

Is the moment actually ruined? Not really, Gojo has to carry her home. (Traditional sandals evidently do a number on your feet. I’ve never worn Japanese-style ones, but, that tracks with my experience with flip-flops.) And when Marin casually mentions being more careful with her footwear next year, when they go again, Gojo gets so hung up on the “next year” that the boy looks like he’s practically going to cry. It’s really sweet.

There’s an equally-sweet after-credits scene, where Gojo keeps Marin company over the phone after the latter makes the brilliant decision to watch the sequel to the horror movie they’d seen earlier. We don’t get a concrete sense of how long the two talk for, but it seems to be quite a while. At episode’s end, Marin tells a now-asleep Gojo that she loves him. Maudlin? Maybe. Heartwarming? Absolutely, and the visual of their two separate beds being stitched “together” by their phone call is really lovely.

The episode–and the season–ends with Marin wishing him a goodnight, and a promise to see him later.

A promise that might well extend to us, the viewers, as well. One can say a lot about Dress-Up Darling, most of which I already noted in the opening paragraphs of this column. But, the show definitely cares about its own characters, and that’s a good thing. I have my own hopes and expectations for the near-inevitable season two, but there will be time to write about those in a future column. MDUD will almost certainly return to the pages of Magic Planet Anime in some form or another. (Perhaps sooner than you think, even.)

For now, I think perhaps I should end this particular round of Let’s Watches the same way MDUD itself ended. To that, I say; goodnight, and see you later.

Egregious Horny Score: We’re at a tasteful 2/5 this week. Although some teenager is going to watch this and discover he has a thing for exposed necks. Pray for him.

Overall Egregious Horny Score: A solid 4/5. Frankly this was my biggest complaint with the show and probably a lot of other peoples’ as well, and I sort of regret waving the extraneous cheesecake that was present early on off in the way that I did. Oh well.

And finally, by far the most important of these little mini-entries, returning for the finale is the Bonus Nowa Screencap. Let’s hope we get more Nowa in season two. If we can’t get an authorized Flower Princess Blaze spinoff I at least want Nowa: The Anime. I would take that as a consolation prize.

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Posted on March 20, 2022 in anime, Let's Watch

Let’s Watch MY DRESS-UP DARLING Episode 11 – “I Am Currently at a Love Hotel”

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

Alright, let’s get this out of the way. Yeah, this episode of My Dress-Up Darling is called “I Am Currently at a Love Hotel.” That’s the title they chose–and the premise they chose–for the penultimate episode of this show’s first season (let’s be honest, there’s no way it’s not getting more), and we just all have to deal with that together.

But why is it called that? Well, true enough, Gojo and Marin end up at a love hotel after a Wacky Misunderstanding ™. The explanation is simple in concept but winding in practice; Marin wants to cosplay a new character (a succubus named Liz from a comically-long-titled 4koma series. The sub track abbreviates its name to the frankly hilarious SuccIDK, so I will be using that here, too.)

She ends up booking a “cheap studio” to take photos at. The studio ends up actually being a love hotel. Whoops.

There are some good shenanigans in the episode’s opening, pre-mixup, where Gojo has to have both what succubi are and their appeal explained to him. He doesn’t entirely get it (and to be fair, I’m not sure I could rationally explain demonic gap moe` to anyone either), but he gets pretty into making the costume. Given that SuccIDK is drawn in a chibi art style, he has to come up with most of the details himself. He does not get that leeway with the bottom of the costume, which is basically just a pair of panties with frilly lace. Yet another excuse for the show to put Marin in showy outfits or just true to actual anime character design tropes? We here at Magic Planet Anime ask; is there any reason to assume it’s not both?

The actual love hotel portion of the episode is…something else.

On the one hand, it’s genuinely pretty funny in spots. Marin seems to make the wildly improbable mistake of thinking an honest-to-god vibrator propped against the bed’s headboard is an “electric massager” before revealing that she’s just pulling Gojo’s leg. And she also brushes off Gojo’s objections to them being there at all in a way that is both pretty insensitive and fucking hilarious. (It’s in exchanges like this where Gojo and Marin feel most authentically “teenager-y” to me, maybe that’s just me.)

Gojo, being an awkward bundle of nerves in a vague humanoid shape, verges on panic attack throughout a good chunk of all this, but eventually the two get too caught up in the actual process of taking cosplay photos to mind the environment too much. (And Gojo’s desire to photograph almost literally everything Marin does while in-costume is genuinely sweet.)

This bit is very cute, and as I often do, I wish more of the episode were like it. Things seem like they’re going to get awkward again when Gojo has Marin sit on him to get a better photo angle (no, seriously. He does this, and seemingly without any ulterior motive. That second fact might be the least realistic thing in this show so far.) But they largely don’t! Not through any fault of Gojo and Marin’s own, at least. The two get some good shots in this position and Marin talks about how much fun she’s having. It’s nice.

Ah, but then Gojo and Marin hear a woman getting her back blown out in the next room over, and suddenly they are again very keenly aware of where they are, and the moment of fun ends. We are treated to an absolutely delightful (EDITOR’S NOTE: THIS IS SARCASM) shot of Gojo getting an erection and awkwardly trying to get Marin off of him, which of course just makes things worse.

The final main scene here is the two of them sitting in dead silence in the dark, with nothing but the sound of their breathing filling the audio track.

And like, I get it, right? This entire 22 minutes is a juxtaposition of the absurd, the funny, the awkward, and the intimate. This bit is supposed to be that last thing; the two of them forced together for a moment that lasts an agonizingly long time, until an external force (a phone call from the front desk telling them to pack it up, they’re out of time) pulls them apart.

That slurry of different emotions and absurd situations is not a bad portrait of what being a teenager is like, and to the show’s credit this all does scan as believable, in its own way. But it’s all just a little much, isn’t it? This is not the worst episode of Dress-Up Darling (not by a longshot), and it certainly isn’t the best. But it is among the skeeviest. I won’t pretend I can dictate how other people feel about that, but to me at least, the final few scenes end up cutting the legs off the otherwise pretty solid first two-thirds of the episode. Maybe I just need to get out more, I don’t know.

I will say, as a positive side note, that whatever team actually did this episode is very good at capturing strong emotion in facial expressions. Marin really does look like she’s about to jump out of her own skin at the, ah, Moment, she and Gojo just shared.

(I have a suspicion some of the Akebi’s Sailor Uniform guys might’ve been involved, since it’s the same studio and some of the exaggerated facial shots remind me of a more reined-in version of that series’ weird faces. But I don’t have the show’s production details in front of me and, frankly, I don’t feel like looking it up.)

It’s also possible–though certainly not a given–that this all scans less weirdly if you’re still in the target audience of actual teenagers. As somebody who’s 28, it’s a little difficult to look at this stuff with the same lassiez-faire attitude I had ten years ago. It’s not like, say, B Gata H Kei didn’t exist during my teenage years, and I won’t pretend I didn’t like that show at the time.

In any case, the finale airs next week, and as such, our long national wet dream is almost over. Until then.

Egregious horny score, which I forgot to do last week, whoops: Yeah, this is a straight 5/5. There’s less skin shown than some other episodes but…well, re-read the whole article if you need further explanation.

Posted on March 14, 2022 in anime, Let's Watch

Let’s Watch MY DRESS-UP DARLING Episode 10 – “We’ve All Got Struggles”

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

Since I started the Let’s Watch column late last year, I’ve noticed that over the course of a full twelve weeks talking about a specific show, I do tend to repeat myself. This is probably normal–if a little annoying, as a writer–since there’s only so many ways one can make the same broad statements about an anime’s central characteristics.

For example, how many times have you heard me say that My Dress-Up Darling shines when it’s focusing on cosplaying, its primary subject matter and its chief distinction from other romcoms? If not in those exact words, I’ve expressed the same sentiment about a half-dozen times over the course of these columns. Maybe I’m being repetitive, but on the other hand, it’s true. So, when “We’ve All Got Struggles” opens with the Flower Princess Blaze cosplay shoot we’ve been building up to over the past several weeks, it has a pure warmth to it that matches MDUD’s prior best moments. The series deftly calls back to several prior insights we’ve gotten into Juju and Shinju’s characters, and the episode’s title is a quote from a sympathetic Gojo. It’s great stuff, and not just because Marin looks absolutely amazing as Black Lobelia.

Or because the style-cut gags make a welcome return here.

It’s nice because the whole cast clicks together in a way that just works and is good, simple fun to watch. And all of that happens in the episode’s opening six or so minutes, before the OP even rolls.

Most of the rest of the episode is about Marin’s next cosplay. And also, her being a bit jealous after she finds out that Gojo and Shinju spent time alone together. Because this is Dress-Up Darling, this creeping jealously is cut with scenes of Marin rewatching FBZ. Specifically, the scene where Shion’s soul gem becomes corrupted. Funny visual gag or foreshadowing of something darker in the show’s future? Who can say? (Probably just the former, though, if I had to guess.)

This time, she wants to cosplay a girl from an unnamed game, Veronica. There is a pretty substantial difference between Marin and Veronica. See if you can spot it.

To say that cross-skin color cosplay has historically been somewhat of a contentious subject would be greatly understating it, especially when skin tone-altering cosmetics are involved, as they are here. It’s also not a subject I feel terribly qualified to comment on, for a number of reasons (my own whiteness, my being American and not Japanese, and the fact that I don’t personally know many cosplayers being the first, distant second, and ever more distant third, respectively). But it is at least worth noting that the completely blasé tone the show takes toward this feels a little weird, even as an outsider by all metrics. If someone were outright angry, I would understand completely.

Thankfully, this particular plot point is shuttled past pretty quickly. Gojo is unable to overcome his own awkwardness and can’t really bring himself to help with the Veronica cosplay beyond making the basic outfit itself. (Which, given how little Veronica wears, a whole other subject of conversation in of itself, is not much.) The cosplay ends up shelved, at least for the time being.

^{Sorry, Ver. You’re simply too edgy for this world.}

That doesn’t mean we don’t get anything good out of the effort, though. One of the things Gojo makes for Marin before eventually bailing on this particular cosplay is a set of fake pointed teeth. Marin goes nuts for them, of course.

^{And on that day, something awoke inside Gojo.}

The final bit of the episode is spent with Marin taking Gojo out clothes shopping. This is another case of the two of them being uncomplicatedly sweet together, even if that sweetness mostly expresses itself this time around by Marin not realizing that Gojo looks like an absolute turbonerd in any outfit she puts him in.

This all concludes with the scene I mentioned earlier, where Gojo confesses that he can’t bring himself to help any further with Marin’s Veronica cosplay, and awkwardly explains why. Despite the brief hint of genuine tension, once Marin learns his reasons, she immediately dials back into ruthlessly teasing him. You know, like couples do.

In an unusually shrewd move for Marin, she even sees the opportunity to double down, by saying she’ll keep the outfit as housewear, and then doing this to whisper something about sending him pictures in Gojo’s ear.

She almost immediately retracts the “offer” of course, though I doubt Gojo’s heart got the memo right away.

I could see someone finding all this silly or maybe even just dumb, but I think another strength of My Dress-Up Darling‘s is when it works in this fairly traditional light-romcom mold. We don’t get the coveted confession scene yet, and hey, maybe we won’t get that this season at all (a second season seems like a given for something this popular), but progress is being made, inch by inch. I imagine anyone who watches this show for the lead couple will walk away from this week’s episode happy.

Anyway! The next episode is called “I Am Currently at a Love Hotel.” See you next week when we learn whatever the hell that’s about, Dress-Up Darling fans!

Posted on March 6, 2022March 6, 2022 in anime, Let's Watch

Let’s Watch MY DRESS-UP DARLING Episode 9 – “A Lot Happened After I Saw That Photo”

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

Woof. Look at that title. I’m not on the writing team for My Dress-Up Darling–or indeed, the translation team–so I can’t be totally sure, but I’m pretty certain that that’s a somewhat crass joke.

Which is weird, because while the show’s general aura of “idk, horny” returns this week, this is actually a pretty solid episode. The main goal here seems to be fleshing out the character of Shinju, Juju’s younger sister. That does unfortunately mean we get more than a little of the same “isn’t it funny that she’s a middle schooler but has HUGE bazongas?” energy that marred her introduction. But at the very least, she’s humanized here to a degree that raises her well above the status of a one-note joke character. It’s enough to make me at least consider overlooking how weird the series sometimes is about her.

Before that, though, we open with more cosplay nerdery. We don’t get a whole episode about Gojo making the outfits this time. As such, while there’s still a fair bit of Dress-Up Darling‘s usual camera leeriness, it’s at least over fairly quickly. And the rest of this sequence is actually pretty good. There’s the odd Lucky Star-esque sitcom conversation that slips in.

And I’m particularly fond of the details of Marin putting on her Black Lobelia outfit for the first time. The way she gets so happy over having a perfect black soul gem to stick above her chest, or how she delivers this absolute 24-karat one-liner after applying some cosplay tape.

In general, Marin actually gets a lot of great dialogue here. Something I have to equally applaud both the original writers and the translators for. Who hasn’t felt like this at least once?

But as mentioned, the real heart of this episode is Shinju’s story. If you’ll recall, last week, after Juju fainted, we cut abruptly forward in time to spend the last ten minutes of the episode on that dreamy endless summer sequence. If you were wondering what exactly happened in between those events, wonder no more, as this episode establishes that Juju was fine. More importantly, Shinju and Gojo had a long talk about the former’s desire to start cosplaying, but reluctance to do so for pretty understandable reasons.

I have to admit that I was a little surprised to see this brought back up as any kind of actual character flaw. While last week did explain Juju’s extreme passion for cosplaying and general derision borne of jealousy, it doesn’t really excuse it, and seeing that her rather gatekeepy attitude has actually hurt her younger sister’s feelings is an unexpected bit of realism. I appreciate it.

Gojo is able to assure her that she should try anyway, and naturally, Shinju is quite moved. (Will this develop into a third character in the show having a crush on Gojo? It’s hard to say. I rather hope not. Anything beyond the core Gojo / Marin relationship is cruft.)

But there is an issue. The entire reason Shinju is worried about “looking weird” is that the character she wants to cosplay doesn’t match her body type at all. (A real issue that many cosplayers face! To say nothing of broader clothing availability problems.) That character? Why, a cool older brother of course.

One can see how this might be a challenge.

Nonetheless, Gojo is nothing if not a cosplay wizard. He’s able to whip together a pretty convincing outfit in a matter of what seems like mere days, using one of his own old school uniforms as a base. Now, does this sequence also contain unfunny jokes about Shinju’s boobs and weird, leering shots of the same? Unfortunately, yes. Does it completely cancel out the actual good that Gojo is attempting to do? I wouldn’t say so, since he, at least in Watsonian terms, seems to have the decency to not be attracted to a middle schooler.

Clearing that so-low-it’s-underground bar aside, this sequence shows the two building a nice friendship. It’s worth remembering that Gojo doesn’t just do all this outfit-making work on a whim, he does it because he finds it meaningful. Shinju, similarly, doesn’t want to cosplay just for fun. She wants to do it because this character means a lot to her. As Marin said several episodes back, it is a way of expressing love. It requires a fine touch.

And, hey, there’s also some genuinely funny bits in here, like the pair being shocked at the affordability of certain kinds of chest binders.

When all is said and done, the show cuts back to its present–the day of the cosplay photoshoot alluded to last week–and Marin, Juju, and us, the audience, see Shinju’s complete cosplay for the first time. It is a genuinely remarkable transformation.

The two, being cosplay otaku first and foremost, naturally freak out.

And Marin bestows upon Shinju the greatest honor any gyaru can grant to anyone.

Now, arguably, the episode could be said to undercut its own message by showing that Shinju basically does pull off a perfect cosplay of this character. But I think the intended takeaway of “trying your hardest to capture the spirit of your character is the most important thing” shines through well enough. Despite any of my qualms with it, the main shade present in this episode is one of sweetness. I think My Dress-Up Darling shines best when it’s showing its characters the love and humanity they deserve, and that is definitely true here.

Egregious Horny Score: We’re at a firm 3/5 this week. The show’s definitely been more egregious than this, but the pervy camera is back in full force. It’s unfortunate, but I’ve run out of meaningful commentary on the subject (at least for now), and it didn’t kill my positive feelings toward this episode.

Posted on February 28, 2022March 9, 2022 in Uncategorized

The Frontline Report [2/27/22]

The Frontline Report is a weekly column where I summarize my journey through anime, manga, and the related spheres of popular culture over the past week. Expect spoilers for covered material.

Believe it or not, anime fans, I’m not dead! After a rather rough week and a half I managed to recover enough this week to watch a bit more than just the bare absolute minimum of anime. I’m not quite 100% yet, to be totally honest, but hopefully you’ll enjoy my small writeup below. I won’t pretend it’s terribly likely that next week will be much beefier, given that Elden Ring just came out, but I’ll try to not make it totally barebones. 😛

^{Maybe I’ll end up bringing back Magic Planet Arcade, while I’m making lofty promises. Ah, that’s a joke. I suck at reviewing video games.}

Seasonal Anime

Princess Connect Re:Dive Season 2

What is Princess Connect? On the surface, that’s a simple question with a number of simple answers. It’s a fantasy anime series. It’s a tie-in to the mobile game of the same name. It’s a hell of an animation showcase. Priconne is all of these things, that much is true, but one layer beneath all of that, it’s also a story about memories. Making precious ones, yes, but also about things that are forgotten, and that those who’ve forgotten them may be better off not remembering.

Even though its lead has amnesia, it took me a long time to pick up on this particular thematic thread of the series. It’s an embarrassing admission, but I’m not in the business of lying in these writeups. For anyone who’s like me and is similarly having parts of the show go over their head, this past week’s episode about a memory-altering spirit plaguing the cast should help. I won’t give you the play-by-play–the episode is great enough that if you haven’t caught up yet, you absolutely should–but it does certainly push this particular part of Princess Connect to the front and center. The spirit’s brief effects on Yuki, where he appears to remember some part of his past life, are the main plot development here.

But even outside of all that, it’s just another really great episode. Doubly welcome in the wake of the previous week’s still solid but rather puzzling story about a blind swordsman that only just barely involved our core cast at all. The fluid and expressive animation everyone’s come to expect from Princess Connect is all here, and there are some great character moments. My personal favorite being here, with Karyl and Pecorine’s romantically shaded journey to a spring.

Elsewhere on MPA

Let’s Watch SABIKUI BISCO Episode 7 – “The Stolen Rust-Eater”: I’m never happy to say that I think a show might be going downhill, but I did not care for this episode. Let’s hope next week is better.

Let’s Watch MY DRESS-UP DARLING Episode 8 – “Backlighting is the Best”: On the other end of the scale entirely, we have easily the best My Dress-Up Darling episode so far. As a sidebar; how successful do you think this show would have to be for someone to make a real Flower Princess Blaze anime? I kind of want that. I kind of need that badly. Honestly, now feels like the perfect time. When Magia Record‘s third season and Tokyo Mew Mew New premiere later this year, we’ll have the second time in two years that three magical girl anime are airing at the same time. Obviously FPB couldn’t join that particular class, but in a few years, who knows? I’m just saying, anything can happen.

Posted on February 27, 2022 in anime, Let's Watch

Let’s Watch MY DRESS-UP DARLING Episode 8 – “Backlighting is the Best”

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

There is a plethora of reasons I can imagine someone wanting to drop, or simply never pick up in the first place, My Dress-Up Darling. It’s a romcom, and those are not for everyone to begin with. It’s a straight romcom, so the rabidly queer segment of my readerbase (hi friends) may be inclined to dismiss it out of hand. More specifically, the show’s tonal coherence has been a victim of poorly-worked fanservice–enough so that I’ve made a running gag out of it in these columns–and occasional tasteless humor. Any and all of this, take your pick, I absolutely get why MDUD does not have universal appeal.

But in spite of everything I’ve said about it over the past few weeks, I continue to watch it. Partly out of obligation, yes, but also partly because I do genuinely believe it has some good ideas. When the show gets out of its own way enough for everything to truly click into place, it can pull off some spectacular stuff. Episode 8 is that spectacular stuff. It is the best-yet episode of the series by a country mile, and while it doesn’t wave away my previous criticisms of the series (it may make them all the more frustrating, really), it does point toward a path forward for this show. Romcom Hell is escapable, and My Dress-Up Darling might just find an exit yet.

Up to this point, the show’s highlights have revolved around our leads, Gojo and Marin, and they get a good turn here, too. But a good chunk of this week’s episode, “Backlighting is the Best”, is instead about Juju, a character I’d previously basically written off as a one-note joke.

Let it never be said that I am right about everything I assume about a series.

Allow me to go on a tangent for a moment, it’s the proud tradition of the editor-less internet critic.

When I was very young, there were a few shows on Cartoon Network’s nascent Toonami block I really loved. Most of them were standard fare for a young boy growing up in that period of time, and as a small AMAB child, I believed I was a young boy. So naturally, most of the cartoons I gravitated toward were “for boys.” In as much as any cartoon truly is for only one gender.

There was one exception. You’ve probably heard of it, if I had to guess.

Sailor Moon was far and away Toonami’s most successful “girl show.” They only tried their hands at a few others (one was Hamtaro, which I was also fond of), and this aspect of the block has largely been scrubbed from the current incarnation’s image. (Retroactively, its inclusion has been recontextualized as fitting the block’s “action cartoons” mission statement. Which, to be fair, it certainly did.) I haven’t seen much Sailor Moon properly–I was quite young during all this, and my memories of the show are largely a hazy jumble of disconnected images–but something about seeing this pretty soldier stomp monster ass every week while also finding the time to deal with normal teenage girl issues struck a chord with me. I liked a lot of anime characters at the time. But I never wanted to be most of them. I did want to be one of the Sailor Scouts. That’s an important distinction.

So, what do 20-year-old Gender Feelings have to do with a random mid-season episode of a romcom anime about cosplay? Well, I can’t claim the feelings are exactly the same, but Juju certainly seems to be able to relate. About halfway through the episode, Juju–nervous because they’re doing a photo shoot in an abandoned building(!)–confides in Gojo why it is that she got into cosplay in the first place. He wants to know why Juju wanted him to make her outfit, instead of any of the number of other people she could’ve contacted, and this dovetails into Juju explaining why she cares about the craft in general. I’ll just say, I found the sentiment familiar.

There’s a lot to unpack here. Juju doesn’t specifically say she had an at least somewhat unhappy home life, but the very fact that she felt compelled to seek refuge in these stories does sort of imply it. She also distills the appeal of the entire magical warrior-style mahou shoujo down to a couple sentences. It’s clear that she (and by extension, the author) have a sincere and deep love for the genre. But of course, things aren’t as simple in real life as in fiction.

Magical girls (tragically) do not exist, and Juju’s realization of that fact at a young age is what drove her to become a cosplayer in the first place. Not “the next best thing,” but the sort of sublime momentary transcendence of our everyday reality that all great art–of which cosplay, and indeed fashion in general, is certainly a part–is capable of inspiring.

Even Juju’s previous nasty attitude toward Marin is explained here. She was jealous. A jealousy that can only come from caring about something very deeply. She saw an absolutely perfect outfit and had to get in on whoever was making it. It makes total sense.

Gojo is of course deeply touched by this. Why wouldn’t he be? Someone basically just poured her heart out for him to compliment his design skills. He’s so grateful that he unthinkingly seizes her hand while muttering a thank you.

^{Well, a “fank you.”}

My Dress-Up Darling then almost immediately resumes being My Dress-Up Darling. (Read: Juju, who goes to an all-girls school, faints from surprise, because she’s never held a guy’s hand before. Sure.) The moment is over as quickly as it began, though the somewhat doofy gag is not nearly enough to actually undercut it. The rest of the episode is actually also pretty excellent, but completely unrelated to any of this.

Instead, the rest of the photoshoot left implied, we cut to the last day of exams in Gojo and Marin’s classroom. On the spur of the moment, Marin invites Gojo to the beach, and it’s there that we spend “Backlighting is the Best”‘s final ten or so minutes.

The impromptu beach date here is just adorable. It’s naturalistic in a sincere, warm way that the show’s best moments have previously touched on but only delivered intermittently. I’ve never had trouble “buying” Marin and Gojo as a couple; they’re clearly into each other in a way that most stock romcom leads could only dream of, but if anyone has, this sequence should put all of that to rest. Gojo stoically takes in the beauty of the seaside. And the visuals do a lot to sell that nautical beauty; this entire segment has a wonderful in-direct-sunlight look. A sort of deliberate overexposure applied to the drawings themselves.

Marin, emboldened by their comparative isolation at the relatively deserted beach, asks Gojo if he’d like to spend the summer together after learning that he didn’t get out much as a kid. Gojo enthusiastically agrees, and in what is easily her cutest moment in the show so far, Marin has to quickly scuttle back to their beach blanket to hide her blushing. (She’s also developed a pretty fantastic character tic of cupping her face in a W-shape when embarrassed. It’s immensely endearing.)

There’s also a pretty incredible sequence where Marin buys a hamburger and has it stolen by a bird, proving that My Dress-Up Darling can, in fact, be genuinely really funny when it wants to be.

I would honestly not be surprised if this ends up being the show’s overall best episode. Its two halves are great in totally different ways, the directing is on-point throughout (there is a lot of creative storyboarding here, and in a general sense the episode is visually fantastic), and most importantly, it has heart. There’s actually enough good here that I didn’t even find proper space to mention some of it, such as Marin’s truly powerful Girl Dad Fashion, or the episode’s entire first third, which is mostly enjoyably nerdy talk about cameras.

This is the sort of episode that sticks with you, and I sincerely hope it points toward the direction the series intends to take as it enters its final stretch. But even if MDUD never returns to these heights again, watching the whole thing will have been made worth it by these twenty-three minutes alone. That’s worth something, and everyone who worked on this episode should be very proud.

Until next time, anime fans.

Egregious Horny Score: I’m pleased to report that we’re at a tasteful 1/5 this week. There’s a panty shot (which Gojo gets comically flustered by) as Marin frolics in the water, but aside from that single instance there isn’t anything in the episode that’s so much as mildly suggestive.

The Magic Planet

Tag: Bisque Doll

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The Weekly Orbit [7/18/25]

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Let’s Watch MY DRESS-UP DARLING Episode 11 – “I Am Currently at a Love Hotel”

Let’s Watch MY DRESS-UP DARLING Episode 10 – “We’ve All Got Struggles”

Let’s Watch MY DRESS-UP DARLING Episode 9 – “A Lot Happened After I Saw That Photo”

The Frontline Report [2/27/22]

Let’s Watch MY DRESS-UP DARLING Episode 8 – “Backlighting is the Best”