Jeoffrey

Die ursprüngliche Serie, zumindest was das Charakterdesign der Charaktere betrifft, die relativ unterhaltsam beginnt, hat viel Energie, aber allmählich ziemlich schnell langweilig wird. In der Mitte scheinen die Schöpfer wirklich nicht zu wissen, wohin sie eigentlich wollen. Schlimmer noch, der Hauptcharakter benimmt sich in etwa 11 Folgen wie ein Idiot, anfangs ist es lustig, danach langweilig, dann nervig und dann entscheidet er plötzlich mit einem Fingerschnippen, dass er sich zumindest für einen Moment nicht wie ein Idiot verhalten will, aber da er als Trottel aufgebaut wurde, die ganze Zeit als Trottel präsentiert wurde, funktioniert diese plötzliche Wendung für den Zuschauer trotz aller Bemühungen nicht besonders gut. Der interessanteste Charakter ist für mich am Ende wohl Matakara, der im Rahmen der Geschichte zumindest ein wenig mit etwas anderem als nur den Fäusten der anderen kämpft, obwohl selbst seine innere Angst es der Serie nicht geschafft hat, auch nur annähernd überzeugend zu verkaufen. Letztendlich ist es eine Enttäuschung, schön animiert, guter Ton, mit einem sympathischen Anfang, aus dem man am Ende aber nicht viel mitnehmen wird. 5/10

Mir gefällt das Thema hier - Erwachsenengeschichten über Hexen, Nekromanten, Vampire und andere übernatürliche Wesen haben mich immer angezogen, aber hier fühle ich mich, als ob immer etwas nur angerissen und dann beiseite gelegt wurde. Es gibt zwar einige zusammenhängende Geschichten und jede davon hat großes Potenzial, aber ich frage mich, ob zum Beispiel Charaktere wie Phanora oder Helga jemals in die Handlung zurückkehren werden. Genauso wie die meisten Ideen, mit denen der Autor hier arbeitet, wahrscheinlich nur vorgestellt und dann beiseite gelegt hat (wodurch die Einführung dieser Charaktere auf einmal irgendwie leer und fast überflüssig erscheint). Mein größtes Problem mit The Witch and the Beast ist wahrscheinlich, dass obwohl das Thema großartig ist und das interessante und charismatische Hauptduo vorhanden ist, die Serie zwar nicht vor Blut zurückschreckt, aber dennoch den Eindruck erweckt, dass sie mir alles nicht so überzeugend und qualitativ hochwertig verkauft, wie sie könnte. Ich spüre eine enorme Menge verschwendeten Potenzials! Und so wirkt das, was ich bekomme, für mich zwar interessant, aber gleichzeitig auch irgendwie schwach, unausgereift, ich denke, dass viele Dinge noch viel cooler sein könnten. Auch ein möglicher Nachfolger - einerseits reizt es mich, ich bin gespannt, was sich in der Welt der Vampire entwickeln wird, oder ich würde gerne weitere Schichten des vorgestellten Abgrunds entdecken und herausfinden, wie es mit der Hauptgeschichte zusammenhängt, aber gleichzeitig sagt mir etwas, dass es nur weitere oberflächliche Einblicke irgendwohin (und zugleich nirgendwohin) sein werden, eine Präsentation der Fantasie der Schöpfer, mit der sie aber dann nie wieder richtig arbeiten werden, was mich ziemlich ärgert. 6/10

This one was a major letdown for me, probably one of the biggest disappointments from the winter season. I'm usually a fan of Studio BONES, and this was their anniversary project, so I was expecting at least a 7+/10 experience. Instead, what I got was a half-baked Blade Runner mixed with mecha suits straight out of Ultraman, and a main duo of girls who were trying way too hard to have chemistry (because Motonobu Hori gave us Carol and Tuesday), but even that fell flat. Their relationship lacked a solid foundation, leaving me wanting more in terms of their interactions and gradual development to make me believe in their feelings and trust for each other, especially during those moments when it seemed like they were just pbetraying each other. The same goes for the other nine Neans, supposedly once part of a big family with very fragile relationships that were supposed to carry the weight of the story towards the end. But building connections to characters and believing in their bonds based solely on a few flashbacks just didn't work. Take Rouge and Cyan, for example - trying to establish a deep sisterly bond in two episodes is just not realistic, and I couldn't buy into it. It feels like character development was rushed because the creators tried to cram in as many fights and classic sci-fi questions about the line between human and robot, and what free will means (basically Mars: Become Human)... but even that felt rushed. There were so many characters, so many side plots that I initially enjoyed, but they mostly turned out to be inconsequential. And the final twist, thanks to all those side plots, lost its impact. Building up the mysterious puppeteer behind it all was unnecessary because it was obvious who was under the mask from the start, especially since the story didn't provide any other viable options. And with all these layers and twists, the core of who is really behind everything falls completely flat, because the viewer is so tangled up in all the "onion layers" without proper exposition while being told that the story is still clever and delicate... It needed at least 24 episodes to fully explore and unfold everything, to allow the viewer to experience every layer of the story thoroughly and make it all meaningful. The beginning was promising, capturing that cyberpunk atmosphere perfectly. Everything seemed simple yet full of potential. Actually, the only thing I found lacking after the first episode was the underutilized music side (I was expecting some booming synths, a distinctive soundtrack, given the Blade Runner vibes). Some later episodes were decent, showing me the setting and developing characters, but it all started to feel overcrowded from around the fourth episode. It seemed like the creators weren't sure where to focus their attention, throwing too much into the pot at once, and it started to burn and fall apart. As I mentioned, the ending wasn't particularly surprising, and when it did try, the twists felt forced or had no emotional impact on me. Or they were accompanied by a line that made me want to facepalm ("The one who killed me was me!"). But okay, enough of the negativity. Let's mention some positives. Animation-wise, the series was impressive. The fight scenes were good, especially in terms of the use of colors and effects. I did manage to relate to the main duo at times, but it wasn't always easy. That's about it. Metallic Rouge was supposed to be this grand project, something I was looking forward to, something I believed Studio BONES would put effort into. But in the end, it was just a messy and half-baked series with a promising start but a dull and unimpressive finale. Rouge MIDStar - 5/10.

A series about a gamer made by gamers, for gamers! Initially, it was a dark horse of the fall season for me, an incredibly entertaining show that spoke my language as a gamer. It was clear right from the start that its creators were true video game enthusiasts, using terms like perfect parry and glass cannon build that only those who've spent time gaming would understand. The main character's unique appearance with his chosen build and acquired debuff immediately caught my attention. In fact, I was so captivated by Sunraku that I had a blue bird as my avatar for half a year. As the series progressed, it just kept getting better and better. It began revealing the local lore, showcasing crafting and other game mechanics, and I quickly found myself drawn into a world I would love to immerse myself in — a game I'd want to play myself. I enjoyed watching Sunraku on his journey, believing in his enthusiasm and dedication. While there were occasional minor flaws, I've come to expect certain quirks in Asian games—like having their own screaming Paimon (here, Emul) or another mascot (and emergency food source). The humor could be wild and childish at times, but the authors compensated with awesome action and surprisingly good animation from the C2C studio. I remember poking fun at Dragon Ball in the past, where fights lasted multiple episodes. And here, it's the same concept, but it makes perfect sense. Just like in a video game, you have boss fights that are hyped for several episodes, heroes preparing for them, and then the real deal with enemies having several different phases like in soulslike games. The fight with Wethermon lived up to expectations, fulfilling the concept of a boss fight to perfection. The episodes dedicated to him flew by, and the animation was truly showcased here — dynamic, intense, and beautifully colored. In terms of animation, Shangri-La Frontier stands strong, hitting A-tier levels just like Solo Leveling. I'm willing to forgive the animators for the minor CG slip in the penultimate episode with the crystalline scorpions. In short, Shangri-La Frontier delivered on all fronts for me. I thoroughly enjoyed this series and eagerly anticipate the next season, announced to arrive surprisingly soon — in just half a year. I can confidently recommend this series not only to anime fans but also to RPG players, especially ARPG enthusiasts. For me, it's a solid 9/10.

Obwohl die fünfte Staffel deutlich kürzer war als das, was ich normalerweise gewohnt bin, hat sie mich nicht enttäuscht. Es wurde deutlich, welcher General Shin sein will, seine Einheit musste sich weiteren gefährlichen Situationen stellen und vor allem darüber nachdenken, wie sie kämpfen wollen. Der Kontrast zwischen Shins Armee und der von Kan Kiho, was sie bereit sind und nicht bereit sind für den Sieg zu tun, welche Methoden die Armee aus ehemaligen Räubern und Banditen entwickeln kann und wie entsetzlich der Krieg dank ihnen sein kann, war für mich der Hauptanziehungspunkt dieser Serie. Und obwohl klar ist, für wen man hier sein will, unter wem man im Kampf dienen möchte, wer moralischer ist, sind auch Kan Kiho Methoden sehr interessant und angesichts des historischen Hintergrunds viel realistischer als Shins Idealismus. Ebenso enthüllt Ei Sei im Finale erneut seine Karten, zeigt, wie er die sieben Königreiche vereinen will, wie er über sie herrschen will, und seine Rede ist emotional, sinnvoll, kurz gesagt, ich bleibe auch ihm treu. Dazu gibt es große Schlachten von mächtigen Armeen unter der Führung interessanter Generäle, welche die Serie mir immer zufriedenstellend präsentiert (vor allem was sie antreibt), eine Menge Strategie (diesmal fokussiert auf bewaldetes Gelände mit Hügeln) und Täuschungen, diesmal wirklich hinterlistig, und ich habe ein weiteres herausragendes Erlebnis, das ich sehr genossen habe. 9/10

With all the buzz surrounding Solo Leveling before its release, I admit I expected a bit more. Initially, I couldn't quite see what all the hype was about. The whole premise of gates from another dimension opening into our world felt like a cliché, and the first few episodes seemed like a generic edgefest with the most obvious cliffhanger. The protagonist gaining abilities that make everyday life like a video game didn't really grab me either, and the nurses watching his gradual transformation were about as interesting as watching paint dry. Even in terms of animation, I wasn't hyped up at first. I'd seen screenshots from the manhwa and comparisons to the anime adaptation, and my initial impression? The anime didn't quite convince me. The fights started catching my interest around the battle with the giant snake, and the story really picked up when it delved into the gray areas of these portals to another world — what could happen in them and who you need to watch out for. While I still wasn't too keen on the video game mechanics, I saw them as an easy way to track the hero's progress for the viewer. The animation gradually improved; by the second half, it was really something to watch, and I enjoyed many of the battles. However, comparing A-1 Pictures' work here to MAPPA's on the second season of Jujutsu Kaisen, which I consider the gold standard of anime action, what A-1 Pictures delivered here is solidly A-tier — it could have been better. What also didn't quite click for me were the characters. The main protagonist is cool, and I enjoy following him, but he's pretty much the only character I feel like I know anything substantial about. With most of the other side characters, I know roughly who they are, but after twelve episodes, I still have minimal insight into their personalities. Summing it up, this series gradually won me over. It hasn't reached the level of hype for me yet, but as a decent introduction, it worked relatively well, and it really got going in the second half. I'm interested in seeing more, expecting more, and hopefully, the second season won't disappoint. For now, Season 1 gets a 7.4/10 from me.

Ragna Crimson isn't afraid to dive into the edgy, dark side, often immersing you in rivers of blood and a tale filled with loss and suffering. Yet, amidst all this grimness, the series manages to hook you with moments of hope and determination, creating a thrilling rollercoaster ride. What truly captivated me in this rather uncomplicated battle between people and dragons, though, was the depth of the characters. The main characters aren't simply painted in black, white, or gray; they're richly colored with unexpected nuances and contradictions. I found myself unexpectedly drawn into the story of  Ultimatia and Voltekamui, falling for the eccentric armless princess Starlia, who sees our hero as a sexy sword. Crimson's chaotic yet calculated nature intrigued me, as did Ragna's struggle, which went beyond being a mere dragon-slaying trope like Eren. The question lingers: do dragons truly deserve death? Once human, often with extraordinary stories, now monstrous, each dragon carries a tale of their own, making them more than mere monsters. The characters truly stole the show for me — their development, interactions, and complexities kept me thoroughly engaged. The battles were another highlight, some executed brilliantly, while others made me think of the advice: "If you can't animate something dynamically and in detail, deceive the viewer's attention with the help of colors." So, in terms of colors, it was a real treat. I particularly enjoyed effects like lightning, hand-drawn to perfection, which gave the series a unique, almost retro feel. While this style might not appeal to everyone, I found it refreshing and immersive. In the end, Ragna Crimson is a success in my eyes — an edgy, well-crafted series. Unlike other shows, it knows what it's doing, confidently presents its narrative, and delivers on intriguing characters. 7.8/10

Ich habe erwartet, dass es gut sein wird, aber ich habe nicht erwartet, dass es so gut sein wird... Die letzte Folge war absolut fantastisch, die verdient definitiv 10/10, schon alleine dafür, wie schön und herzlich sich die beiden Hauptcharaktere ihre Liebe gestanden haben und wie perfekt es mit allem übereinstimmte, was ich nicht nur in dieser Staffel gesehen habe. The Dangers in My Heart hat mich bereits in der ersten Staffel gewonnen, die sich darauf konzentrierte, wie sich zwei völlig unterschiedliche Charaktere allmählich veränderten und ihren Weg zueinander fanden. Die zweite Staffel baut wunderbar auf diesen Fundamenten auf, erweitert ihre Beziehung, stellt ihnen neue Hindernisse in den Weg und steigert alles allmählich bis zum wunderschönen Finale. Was hat mir hier am meisten gefallen? Wahrscheinlich, wie der Hauptcharakter einerseits unsicher ist, voller verschiedener Ängste ist, sich bewusst ist, dass er noch größtenteils ein Kind ist, aber dann kommt irgendwann ein wichtiger Moment und ihm wird genau und logisch klar, was in diesem Moment zu tun ist. Genauso die Heldin, die einerseits oft sehr selbstbewusst wirkt, aber in Wirklichkeit manchmal auch zögert und in vielerlei Hinsicht unsicher ist. Diese Darstellung des Erwachsenwerdens, des Konflikts zwischen dem Erwachsensein mit seinen Verantwortlichkeiten, romantischen Verstrickungen und auf der anderen Seite der Sorglosigkeit und Dusseligkeit der Kindheit, ist hier unfassbar schön eingefangen, beides ist genau gemischt, um den Charakteren alles, was sie tun, glaubwürdig zu machen. Gleichzeitig erinnern mich die Schöpfer sehr geschickt daran, wie sich die Charaktere auf dieser Reise entwickelt haben, denn zum Beispiel die Konfrontation von Ichikawa mit seinem früheren Selbst und wie er alles früher wahrgenommen hat, waren einige der besten Momente der gesamten Serie. Beide Hauptcharaktere sind hier sehr gut geschrieben, sie haben immer noch ihre Stärken und Schwächen, arbeiten aber langsam an sich selbst, arbeiten an ihrer Beziehung, was der Hauptgrund ist, warum ich als Zuschauer ihnen die ganze Zeit die Daumen drücke, auch wenn es manchmal sehr peinlich und seltsam ist, passt es einfach zu den ersten Romanzen, wenn ich selbst daran denke, waren sie einfach. Animationsmäßig großartig, musikalisch vielleicht sogar noch besser - ich habe das wirklich genossen und hoffe, dass es weitere Folgen geben wird, das ist schließlich nicht das Ende, es ist eher der Anfang einer Beziehung, die sicherlich genauso interessant sein wird wie der Weg dorthin. 9,5/10

If you were a fan of the first season, this one will likely hit the same notes for you. On the other hand, if the first season didn't quite grab you, this second one won't do much to change your mind. There's a faction of viewers out there who claim Mashle is the pinnacle of comedy, citing the opening of the second season as a musical masterpiece. Humor, much like musical taste, is incredibly subjective. That's why I'd prefer it if die-hard fans of Mashle didn't try to make me laugh, explain a joke, or play their favorite songs for me. I seem to be in the minority here because I didn't find Mashle's humor to be the least bit funny. This season failed to elicit even a chuckle from me — not once. Many jokes fell flat, feeling awkward and out of sync with my sense of humor. Some moments, like when Mashle's friends turned into kids or certain parts of the last episode, made me cringe so hard it felt like a part of me was quietly dying. The attempt at humor severely dampened my interest, and honestly, I'm not sure if I'll stick around for another season. The opening song, which received praise from many, didn't resonate with me (although I loved the previous songs from Creepy Nuts in Call of the Night). It felt repetitive and uninspiring, so I ended up skipping it — it just wasn't my style. Additionally, the insertion of hip-hop as background music for various scenes didn't sit well with me and clashed with the epic, symphonic fantasy motifs. Moving on to the story and fights, this season left me underwhelmed. While the plot was straightforward and some questions were answered, the resolutions felt simplistic and often clichéd (cue the "Luke, I am your father!" moment). I missed the light-hearted and inventive ways Mashle navigated the lack of magic in the first season. Here, it seemed like the solution was always to do things with bigger force, with Mashle bulldozing through obstacles. The physical and magical fights also lacked the impact and execution I enjoyed in the first season. Perhaps my standards have shifted due to newer anime, but what Mashle presented felt average at best. In conclusion, "Mashle: Braindead" simply didn't resonate with me and entertained me even less than the first season. It just goes to show that this anime isn't my cup of tea and it feels like much of what made the series unique has been exhausted. With that said, if the first and second seasons didn't impress me, it's unlikely the next one will, so I'll leave it to the die-hard fans. I give this season a 4.5/10.

Dennoch, obwohl es bereits aus den Trailern wie eine unglaubliche Dummheit aussah, wollte ich der Serie eine Chance geben, denn sie wurde von Chizuru Miyawaki inszeniert, der einen großen Teil meines geliebten Gintama zu verantworten hat. Ich dachte, es könnte lustig, unerwartet, einfach nett sein. Der Eindruck nach zwei Folgen - das Wunder trat nich ein, es ist Schwachsinn!