Anime Review: Kaiju Girl Caramelise

A cynical, thoughtful, funny twist on the usual coming-of-age rom-com anime

As the world around us feels more stressful, the proliferation of anime rom-coms offer a sweet retreat, and an alternative to the (often equally cathartic) intense or violent adventure stories. With charming characters, poignant moments, the overcoming of insecurities or childhood traumas, and slice-of-life coziness, all of these tropes can be a perfect balm to a stressful day. When you’re in the mood for that kind of vibe, I highly recommend a few of my favorites: The Fragrant Flower Blooms With Dignity, You and I are Polar Opposites, the very underrated and funny Tamon’s B-Side, and the ultimate evening chill show Smoking Behind the Supermarket With You. However, my latest guilty pleasure is a bit of a departure from the general sweetness of the romance anime genre. Kaiju Girl Caramelise offers a different kind of rom-com, in the form of a gender-swapped, building-crushing, monster love story that’s wild, funny, and unexpectedly meaningful about external appearances and the pressure to fit in.

Kuroe Akaishi is a high school loner who dresses in dark clothing and avoids socializing due to her unusual “skin condition.” But this is more than an inconvenient allergic reaction. When she gets overstimulated, her hands turn into thick claws, she grows a monstrous tail, and eventually she begins to turn into a giant (skyscraper-sized) Godzilla-like monster. As the new school year begins, a popular and beautiful boy, Arata Minami, becomes attracted to her, despite her outcast status and her intentionally goth appearance. This newfound and very genuine attention leads to dangerous overstimulation in the worst way as Akaishi finds herself reluctantly attracted to the boy despite her grumpy, self-conscious attempts to avoid him. But as their relationship grows, she loses control of herself more frequently and begins to fully transform into her enormous fearful kaiju form, which the locals nickname “Harugon.” Although afraid of the creature, Minami feels an unexpected connection to it and treats it with empathy. Minami struggles to manage the constant social pressure he feels at school, but he soon finds himself at the center of national media attention when the rampaging Harugon publicly shows kindness and restraint with him. Meanwhile, Akaishi is both horrified by her nightly transformation and property damage and stressed out about figuring out what kind of creature she really is, while also angsting about her unintentionally toxic affection for Minami. Fortunately, Akaishi is supported by several women in her life, including her single mother, a scientist, who has a major secret related to Akaishi’s transformations. Akaishi is also supported at school by unexpected new friendships from Manata, a wealthy, kaiju-obsessed classmate, and Reiru, a cosmetics expert and fashionista who has her own unexpected physical appearance secret.

For a show with such a funny and light premise, Kaiju Girl Caramelise has surprisingly solid commentary on society’s focus on physical appearances versus true emotional connections. All of the lead characters have an unexpected side that fits this theme. Akaishi is a shapeshifting teen girl and destructive Godzilla monster. Despite this secret, her new friends support her, and her dreamy boyfriend loves her even though something seems off. On the other hand, Minami is popular because of his good looks, but his childhood was one where he was overweight and bullied, making him now overcompensate by starving himself to stay “beautiful” and by being automatically social and warm with everyone. The cycle of hyper-popularity due to his physical appearance is exhausting and toxic for him, and it gets even worse for him when he becomes the focus of national attention. Rich and pretty Manata is obsessed only with the monstrous Harugon creature, to the point of jealousy of Minami’s public connection to it. And Reiru channels her physical insecurities into a thriving social media presence about creating your own beauty, since beauty is essentially superficial. Later in the series, a boy, Daichi Yoneyama, appears to be a rival to Minami, but he is also not what he appears to be.

Interestingly, when Akaishi transforms into Harugon, she is not only physically monstrous, but she also changes emotionally, becoming more volatile, impatient, and frustrated. Akaishi will often acknowledge her escalating temper during her transformation. This is a change from shows like Kaiju No. 8, in which the transformed protagonist (Kafka Hibino) remains sweet-natured and tries to moderate his monster form while retaining his sense of humor. On the contrary, although Akaishi usually tries to calm herself down to stop her initial transformation, once it is complete, she relishes her monstrous side and finds it exhilaratingly cathartic. In one very funny scene, she thinks (incorrectly) that Minami wants to make out with her, and she knows that will trigger her potentially deadly kaiju transformation. Instead of leaving him or trying to calm down, she instead says, “Sorry, Tokyo, you’re all doing to die tonight.”

While Minami is the ultimate green flag, cinnamon roll character, the show has fun with gender-swapping the traditional monster and damsel-in-distress roles. In Kaiju Girl Caramelise, the giant, bridge-stomping monster is a girl, while the beautiful, kind-hearted, person in peril is a boy. When Minami first encounters a rampaging Harugon, he feels a familiarity with it after looking into the eyes of the monster, and he, at least subconsciously, realizes he has a connection to the creature. We soon have several moments of the kaiju catching or saving Minami, while the news cameras are rolling, which in turn causes Minami to become a national sensation, nicknamed the “Kaiju Prince.” But it is always clear that the real strength of the show is Akaishi. She remains a realistic combination of boldness, insecurity, humor, strength, cynicism, and thoughtfulness.

In its short run of episodes, Kaiju Girl Caramelise succeeds in being sharp, cynical, funny, and surprisingly thoughtful about the societal pressure for a “beautiful” appearance and the value of struggling to push past the superficial expectations. It also has a great deal of feminism and positive girl power energy as Akaishi, Reiru, and Manata all support each other and even find unexpected support among their female classmates. The show will periodically venture towards traditional mean-girl territory and then subvert the usual tropes with something that is actually and surprisingly positive. Despite the funny rom-com set up and completely enjoyable story arc, Kaiju Girl Caramelise has enough heart to be more than the deliciously guilty pleasure that it seems to be.

Nerd Coefficient: 8/10.

Highlights:

• Gender-swapped monster romance
• Surprisingly positive messaging
• Funny, enjoyable guilty pleasure adventure

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Review [Video Game]: Control Ultimate Edition by Remedy Entertainment

Control remedies my faith in its studio

Imagine that all rumors of supernatural/paranormal occurrences were not only real, but that they were processed and intensely researched in a secretive American government agency. Welcome to the Federal Bureau of Control. Unfortunately, an entity has infiltrated the highly elusive agency, possessing anyone it can get its hands on. If only someone could come and help cleanse the infection and seal the festering wound. Enter Jesse Faden, the new director.

Ever wonder what it would be like to walk into a federal agency and receive the best job in the house on your first day and with no qualifications? This is precisely how Control opens. Once Jesse collects the service weapon, she instantly becomes the director, no questions asked. While there are all sorts of weird things going about throughout Control, this odd transition kept me at arm’s length. An extremely secretive official bureau simply accepts whoever picks up the gun? I kept expecting people to question her, to refuse to serve under her, but no. You get the gun, you get the job. Once I pushed that aside, I could dig in more and enjoy the game.

The gun in question, or service weapon as it’s called, is one of the two main offensive options in the game. Throughout a playthrough, the player is able to unlock and upgrade six forms of this weapon (five in the main game, one from add-on content), from an automatic pistol form to a rifle; the service weapon services all weapon needs. The gunplay is fun, smooth, and rewarding, and opens up creative opportunities in combat. I do wish there was some kind of weapon wheel, so that I didn’t have to switch between weapon forms in the menu mid-combat, but for the most part, two guns at a time worked. The gunplay works as you would expect a third-person shooter to, but the game elevates when combined with Jesse’s paranatural abilities.

Jesse’s paranatural abilities come in the form of telekinesis and are a blast to wield. From launching objects around at enemies, to creating a shield from debris, to launching Jesse into the air—combined with the gunplay—Control’s mechanics create some exhilarating moments that are the true bread and butter of this supernatural romp. Blasting a shielded enemy with a telekinetically propelled boulder, leaping in the air, then quickly dodging to the side to avoid incoming fire, then finishing said enemy with a well-placed headshot before the shields could recuperate was so satisfying no matter how many times I’d pulled it off. Control does not just play well, it feels fantastic, too.

Though the gunplay rocks, the crouch/duck cover system is weak, and I sometimes got shot by enemies that shouldn’t have been able to hit me. Once I got the levitate ability (which comes later in the game than I would have liked), I barely used the crouching system, instead opting to shift between taller cover as quickly as possible.

Besides these weapon forms and abilities, the player can upgrade the power and ability of all offensive capabilities as well as modify them. Increase headshot damage for my rifle mod? Yes, please. Do I want to do 75% more launch damage? You know it. Upgrading the weapon forms and finding complementary mods that changed the way the weapon functioned was part of the driving factor for finding more mods. It’s a shame they never had a multiplayer mode; I could see it being a chaotic treat.

Control definitely has a more cohesive story than Alan Wake, despite my initial misgivings about Jesse’s acceptance to the director position. In fact, there is an add-on (AWE) included with the Ultimate Edition that connects the universes of Control and Alan Wake, which helps lend context to what is going on over in Bright Falls. While it didn’t make me want to go back and play Alan Wake Remastered, it piqued my curiosity for the sequel. The supernatural elements of the story loosen the amount of suspension of disbelief necessary to pull through the crazier parts of the narrative. That said, sometimes the game takes risks with something silly or ambiguous, and it doesn’t play well, separating me from the experience. Other times, like the man forced to stare at a refrigerator or die, are hilarious and clever. Control has a mix of these moments. Sometimes Remedy creates vague mumbo jumbo for the sake of it because they figure they could get away with it with all the other stuff going on, and I just don’t like it. It doesn’t happen enough to ruin my experience, but is just enough to remind me why I didn’t like Alan Wake.

Exploration is great, and reminds me of some of my old favorites like Bioshock (structurally, not aesthetically). I read almost every collectible I discovered, though I wish I didn’t have to stand by the audio recordings to listen to them (some of them are quite lengthy). The world looks good and holds up well for a seven-year-old game. Some animations come off with a whiff of the uncanny valley, but nothing too severe. The environments themselves look great, some of the shining instances being those used to exemplify the striking lighting work and contrast Remedy excels at.

One of the few things I remember liking about Alan Wake was its soundtrack, and Control doesn’t push me away here. The sound work in Control is no slouch; from the music to the voice acting to the sound effects, the game does well on all fronts. The sound effects help make the paranatural abilities pop and assist in solidifying the pleasurable combat.

I’ll admit, it took me a while to boot up Control. I’ve had this downloaded on my console for a long time. Years, in fact. My adventures in Bright Falls certainly did their best to deter me, but I’m glad I finally gave in. Control isn’t perfect. There are some monotonous puzzles that remove me from the game occasionally, not to mention some of the story elements that don’t click (another game guilty of making me question whether some events of the game were real or imagined), though thankfully those were kept to a minimum. But on the whole, enjoyable exploration, gratifying gunplay, and a solid story make Control worth playing and even have me looking forward to Alan Wake II. With Control Resonant right around the corner, now is the time to check out this solid effort from Remedy Entertainment. Even if you don’t love the story, it’s hard not to enjoy the frenetic action.

The Math

Objective Assessment: 8/10.

Bonus: +1 for explosive, satisfying gameplay. +1 for quirky story.

Penalties: −1 for odd/vague narrative beats. −0.5 for some boring puzzles. −0.5 for poor cover/crouch mechanics in combat.

Nerd Coefficient: 8/10.

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

Video Game Review: Tunic by Isometricorp Games

Put away the sword and explore.

Stranded on the tiny shore of a minuscule piece of beach, our little fox protagonist awakens. The striking art style, a mix of simple geometry and vivid colors, catches the eye right away. And on an adventure we go. To do what? Well, that’s for you to uncover. Perhaps. But only if you stick with it. Developed by Isometricorp Games, Tunic is an ode to the ye olde days of Zelda, before the Ocarina hit Link’s lips, where exploration is king and secret passages hide around every corner. Armed with a sword and a shield (once you find them), our furry fox friend is thrust into a cheery world of varied biomes and challenging puzzles.

There is a cleverness to Tunic that pervades its puzzle aspects, and this is where the game truly shines. It makes exploration and discovery feel paramount in an enigmatic world. The top-down camera cleverly conceals certain structures and passageways. There are numerous shortcuts one can take on a subsequent playthrough once they find all the throughways. Finding a hidden passage and realizing you could have gone that way the entire time never got old. Though I must admit my disappointment was much higher every time I found a nook with no treasure. The Pavlovian response had become too ingrained by Tunic’s constant rewards. And while I found the discovery of each page of the manual and new item to be a delight (each with their accompanying charming tune), I must admit it took me a while to get to that feeling of delight.

And that is because of the combat. The combat in this game is uninspiring. Fighting through hordes of enemies or fighting a challenging boss did not make me want to overcome the hurdle; it just made me want to put the game down. This is tied to the story. The game lacks much of one by today’s video game standards. And that’s fine; not all games need one to be fun. But the challenge created by the mundane combat didn’t present its own reward (the combat itself being enjoyable), and the story (or lack thereof) didn’t offer enough incentive to push through the bosses to having to retread areas with hordes of enemies. I’m not saying the combat is awful; it’s just that the challenge isn’t worth the reward. So what did I do?

I put on No Fail Mode and finished the game. Mind you, I played more than half of the game with regular combat, and I intended to turn off the invincibility. But I never did. I struggled with the choice because I’m stubborn. It’s not that I couldn’t beat the game; it was that I was starting to not care. Now, I know it seems like a cheat, but I thought it better to actually finish out the game and see what it offered. And I’m glad I did. The dodge doesn’t feel great and the sword swing is very basic. Killing new enemies with a mix of combat prowess and items in your inventory is enjoyable the first time you enter a new zone, but became tedious each subsequent one. I would sometimes just avoid sleeping at a shrine so I wouldn’t have to engage with any re-spawned enemies. This was one of my no-fail mode eye-openers.

Once I made the choice to take no damage, Tunic got magnitudes better. I realized, through not having to deal with all the combat, I could enjoy the best aspects of the game: the puzzles and exploration. From then on, I didn’t think about putting the game down, and I thoroughly enjoyed going to new areas and exploring even more than before.

As I mentioned, the best part of Tunic is its exploration and puzzles. Once I started collecting more and more pages of the manual, the game opened up. How to unlock new passageways and complete certain sets of puzzles, which would then unlock more pages so that I could uncover more secrets. The manual is in the style of the old NES games, each page giving clues on how to play the game. Some pages had maps, others had information on trinkets and charms, while some had handwriting and cheat codes! This gave the game an old-school feel that too few games try to replicate.

As I ventured forth through Tunic’s numerous biomes, I found I enjoyed some much more than others (and for the record; I had visited most of the game’s biomes with damage still active). The art style permeates, lending itself better to some zones than others. I still think the starting area is the most striking. The sound effects in the Quarry are… unpleasant and made me want to zoom through that zone any time I was there. While I enjoyed the juxtaposition of pink on black and its stark difference from the rest of the map, I could never endure it for long. But mostly, discovering each new part of the map brings a sense of wonder that I think the developer nailed. In this, I believe Isometricorp Games pays the most homage to the games that inspired it.

While discovering new items and enchantments brought an early-game excitement to the mix, I couldn’t help but be let down by Tunic’s weak story and repetitive combat. Combined with the pace of the starter manual page reveals, it led to me almost putting the game down. Now, I know this game was built as a nostalgia-inducing trip for those old-school Zelda lovers out there, but if I’m being honest, I only tried a few when I got older. And they weren’t my cup of tea. Had this game advanced with the times and introduced a more thrilling combat system and a tinge more of a story, I think I may have fallen in love, but as it is, this game will appeal to people who loved those old school Zelda games. For others, I’d say so long as you don’t mind the deficits I mentioned, I think there’s enough exploration and discovery here for a memorable experience.

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The Math

Objective Assessment: 8/10

Bonus: +1 for charming art style and enjoyable melodies. +1 for sense of discovery.

Penalties: - 1 for uninspired combat. - .5 for weak story elements.

Nerd Coefficient: 6.5/10

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

Film Review: Spider-Man: Brand New Day

Adventure, plot twists, and emotional depth in a much needed reminder of why we love superhero stories.

On the continuum of superhero films, the many iterations of Spiderman are generally on the lighter side of adventure storytelling. But the last live action movie Spider-man: No Way Home ended with high school superhero Peter Parker sacrificing his closest relationships to save the world. Losing everything and starting over alone sounds like a bleak premise for our friendly neighborhood Spiderman. However, Spider-man: Brand New Day, lives up to its title with a fresh start, a well-paced new adventure, and plenty of unexpected plot twists which make the story fun from start to finish.

The story begins with Spiderman / Peter Parker (Tom Holland) living a loner life as a full time superhero. He no longer has his beloved parental figure Aunt May (Marisa Tomei). And, his besties MJ (Zendaya) and Ned (Jacob Batalon) don’t remember him due to the memory wipe caused by No Way Home’s mind-bending cosmic reset. Although Peter and MJ were deeply in love and he promised to come back and find them in the new reality, he loses his nerve and decides to remain alone in his continuing protection of the city as Spiderman. MJ and Ned go on to their successful college lives at MIT, complete with parties and another love interest for MJ. Although Spiderman is an elusive and well liked superhero, the human being Peter Parker is non-existent to those he once loved. His only emotional connections in his new reality are a tough (but somewhat motherly) police detective Jean (Liza Colon-Zayas) who partners with him on crime fighting and his antagonist / frenemy Frank Castle (Jon Bernthal) aka the Punisher. However, Peter’s hybrid spider DNA is evolving and his internalized stress from his traumatic loss is adversely affecting him physically as he struggles to make peace within himself. He turns to Professor Bruce Banner (Mark Ruffalo) for advice on suppressing his animal side and Bruce questions whether that is always the right thing to do although he concedes he must do it to control the Hulk creature inside him. But no superhero film is complete without a villain. Adding to the complications is an invisible creature who is taking control of other villains (and sometimes civilians) in an attempt to steal a mysterious item from the government entity known as Damage Control. Peter has to battle this unknowable enemy with an equally unknown goal while battling to keep his own evolving powers in check and dealing with the unbearable grief of losing everything.

It’s been a while since a superhero film delivered the perfect combination of what we love in hero stories: adventure, emotion, and thoughtful messaging. Spider-man: Brand New Day is a delight to watch from start to finish because it delivers in all of these areas. In a period of often excessively bloated run times, Brand New Day, doesn’t waste time with unnecessary content. Every scene is solid, entertaining, and moves the ever twisting plot forward. The acting is effortlessly excellent with three of the leads, Tom Holland, Zendaya, and Jon Bernthal, fresh from their equally impressive (and somewhat similar) roles in The Odyssey. They are joined by television powerhouses Liza Colon-Zayas of the multi-Emmy winning series The Bear and Emmy winner Trammell Tillman of Severance.  We also have Sadie Sink of Stranger Things who is an unexpected treat. Liza Colon-Zayas is excellent as a tough, pragmatic detective who becomes a substitute parental figure for Peter. She is the only one who checks in on Peter as a person and she is the only one who is both strong and sensitive enough to speak truth to him, even when he doesn’t want to hear it. Trammell Tillman’s Emmy winning performance on Severance transitions perfectly to his role in Brand New Day, where he delivers the same corporate bureaucracy with a smile that doesn’t quite reach his eyes. Sadie Sink provides both power and vulnerability in her role. The film initially seems like it will be a story of regaining a lost love and defeating the villain. But it turns into a much more meaningful story about community, compassion, and family in all its definitions.

Despite being two hours and twenty-five minutes long, Brand New Day swings through the adventure with refreshing intensity, as well as thoughtful, twisty storytelling. In recent years, many films drag themselves through a nearly three hour presentation in a way that can leave viewers repeatedly checking their watches rather than being truly immersed. In Brand New Day the story is taut, focused, and well-paced. There is no long exposition on how Peter is earning a living or who all of the side villains or shadowy government agencies are. It’s clear this film is trying to tell a different type of story. Of course, the big action scenes are present and are over the top with plenty of explosions, flipped cars, and near death moments that require a willing suspension of disbelief regarding the controlled amount of carnage, casualties, and not completely toppled buildings. However, the usual trope of the McGuffin / “magic thing” that needs to be captured to win all the power is inverted and reimagined in a way that is so well done. As a result, the film asks some unexpected questions about power, identity, and exploitation that lead back to a meaningful exploration of larger social themes. Spider-man: Brand New Day balances all of the adventure elements without sacrificing thoughtful storytelling and emotional connection. And, by the last act of the film, viewers will be rethinking everything. In a good way.

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The Math

Nerd Coefficient: 8/10

Highlights:

• Excellent characters and acting
• Well-paced, meaningful storytelling
• Entertaining and satisfying

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Daemons of the Shadow Realm

Sibling strife and plenty of intrigue in the new anime from the creator of Fullmetal Alchemist

Sibling bonds and sibling conflicts are frequent themes in popular anime. Powerful examples include Sasuske and Itachi in Naruto, Asta and Yuno in Black Clover, and Demon Slayer’s inseparable sister-brother duo Tanjiro and Nezuko. Sibling relations are often a side story in many adventures, adding emotional depth to the characters. In some stories like Fullmetal Alchemist, the sibling relationship is the primary story. Daemons of the Shadow Realm is a new fantasy anime from the creator of Fullmetal Alchemist which brings sibling drama back to the center of the story, but with a twist. Kind, down-to-earth Yuru will do anything to protect his twin sister Asa until he finds out that Asa is not who she appears to be. Neither is his cozy medieval village what it appears to be. The new series is full of plot twists, family angst, lots of betrayal, and plenty of magical creatures who are invisible to the rest of society. In addition to the intriguing premise, the story keeps viewers engaged with its movement between adventure, humor, and very graphic violence. Holding the diverse cast and action-focused plot together is the primary protagonist Yuru, whose particular balance of pure-heartedness and clever, wise cynicism is a refreshing change of pace from the usual shonen heroes.

[SPOILERS for the first episode] Teenaged Yuru lives in a small medieval village with his twin sister Asa. Legend has it that twins born on opposite sides of midnight will have magical destructive power (the power to sunder day and night). This leads to a quiet power struggle by outside forces to control or destroy the children. After their parents disappear, the children are raised by the village. Yuru is mentored in hunting and fighting skills but, for unknown reasons, Asa is kept locked in a cell by the village elders, and Yuru won’t leave the village to search for his parents because he refuses to leave her behind. Despite the strange arrangement, Yuru has strong friendships and support in the village, and remains close to and protective of Asa. But things aren’t what they seem, and everything changes when outsider assassins attack the village and brutally massacre most of the adults. They are led by a dark-haired teen girl who looks somewhat familiar. Yuru and his mentor Ryu (also known as Dera) are able to skillfully defend themselves, but Ryu decides to take Yuru and flee the isolated village. Yuru refuses to leave his sister behind and vows vengeance against the lead killer. But the assassin shares some unexpected news: the little sister he’s been protecting is a fake designed to trap him in the village, and the brutal murderer in front of him is his real sister, who’s been searching for him for years. Then, as he and Ryu flee the magically protected village, Yuru is suddenly exposed to cars, cell phones, and skyscrapers. We learn that Higashi Village is trapped in time but surrounded by contemporary Japan. It’s a lot to take in, but Yuru is surprisingly level-headed as he navigates a completely new world. In the process, he forms a contract with a pair of powerful daemons who fight to protect him. As the world battles around him, he must navigate his powers and fight off those who seek the control him and his sister. All of this is mostly hidden from the rest of the world. Only certain people can see daemons; few people can reach Higashi village, which is hidden from the rest of the world by magic.

But are the people of Higashi Village trying to protect Yuru or use him? Asa has been raised by the powerful Kagemori clan, whose manipulative wealth and crime connections make their intentions suspect. The story is filled with lots of betrayals, plot twists, and power struggles that keep the story enjoyable. But there are also enough sentimental moments to keep the story emotionally anchored. Cynical Ryu becomes a reluctant father figure to Yuru in their modern urban apartment. There are some fun fish-out-of-water moments as Yuru and his giant shadow daemons discover the wonders of modern living. But, despite being mystified by seemingly magical gadgets, Yuru has been raised with strangeness as part of his life, so his humorous fascination is always moderated. The idea of something he can’t understand is already a part of his being. This element is a fun exploration of the wonder of magic versus the wonder of science. And his curiosity is balanced with his solid instincts and a healthy dose of cynicism. After being abandoned by his parents and lied to by those he trusts, and witnessing the massacre of his community, he is not easily fooled by the smooth-talking manipulators who are trying to access his power. Asa, on the other hand, is fierce, cutthroat, and brutal, but she unexpectedly loves intensely, and is completely devoted to the brother she lost. Yuru treats her with bitterness for killing his village, but also with suspicious curiosity, as she genuinely dotes on him and tries to connect with him. Although he won’t forgive her for what she’s done to try to find him, he understands that there are larger issues at play, since control over the combined power of the twins will affect the safety of the entire world.

The pairing of opposites working together is a consistent theme throughout the story. Yuru and other magic wielders have pacts with supernatural beings called daemons. The daemons exist in pairs with opposite identities. Yuru’s daemons are the strong, giant, ancient, male and female warriors named Left and Right, who are fun characters with gorgeous animation and character design. The central story focuses on the twin protagonists who symbolize Day and Night. Yuru represents night and the power of “seal,” locking things down or bringing closure. Asa represents day and the power of “break,” destruction or opening to freedom. The duality symbolism is fun, and many of the various magical characters have their own quirky personalities. Beyond the core characters, the story builds outward with a growing cast that includes the various factions fighting to control the twins. Fortunately, the characters are introduced gradually, which makes it easier to keep track of who everyone is. Other than Yuru, almost all of the characters are morally gray, including Asa, who has no remorse for slaughtering people to get to her brother. This dynamic keeps the tension strong because you never quite know when someone is going to suddenly betray a character. Fortunately, Yuru understands the realities and is clever enough when dealing with the various factions trying to get to him. His balance of youth, curiosity, cleverness, and cynicism makes the show highly watchable without falling into the more common protagonist tropes of either excessive optimism or grumpy bitterness. And the quirky relationship between the lethal siblings is a nice change of pace from the more common protective big brother themes.

So far in season one, Asa feels much less developed than Yuru, but neither of them have extended deep moments of introspection. Fortunately, the brief moments pack a lot of meaning and keep the story grounded. In one passing moment, Yuru realizes and comments out loud that his parents left him behind. There’s not a lot of drama, but viewers can feel the gravity of the hurt in that single sentence. Elements like this keep the show entertaining and engaging despite the growing cast of characters. The show’s premise feels typical, but the delivery is clever and unexpected, with plenty of early plot twists. Additionally, the story gives us a unique and intriguing sibling dynamic that differs from the usual setup of protection or rivalry. Both Asa’s and Yuru’s love for each other has been twisted, leaving the twins to navigate not only the forces battling to control them but also their own personal connection that was brutally damaged through the actions of others. That internal tension is a great way to balance an action-oriented plot in this unique fantasy setting.

Nerd Coefficient: 8/10.

Highlights:

• Refreshing change of pace in the protagonist and relationship set up
• Complicated cast of morally gray characters
• Solid action with plenty of violence

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Film Review: Masters of the Universe (2026)

Lighthearted nostalgic adventure that doesn't take itself too seriously

Saturday mornings in the ‘80s were a sacred time for fantasy loving kids, a time when they could indulge in a range of fantastical animated adventures. Some cartoons were available in the after school hours as well. Long before cable gave us 24-hour kids and cartoon channels, and before streaming services gave us on-demand access to thousands of superhero shows, weekend and after school cartoons were the primary gateway to adventure. Among the curated selection of kids cartoons was He-Man and the Masters of the Universe. The series, based on an existing toy brand, gave kids the animated version of action figures from Mattel’s Masters of the Universe collection. In full disclosure, I will note that I am not a He-Man (or spinoff She-Ra) superfan, although I watched some of both original shows in their original runs and have sometimes watched other iterations of the series, including Netflix’s She-Ra reboot. I mention this because the 2026 Masters of the Universe feels very intentionally grounded in that original sense of childhood nostalgia. Depending on your perspective, you may find this a joyous relief or an irritation. For me, despite the film’s many shortcomings, I mostly found it to be the former: a fun, optimistic surprise in a sea of otherwise perfectly appropriate and timely cinema bleakness and intensity.

In the 2026 adventure, Adam is the young prince of Eternia, a magical kingdom with talking animals and sorcerers. He is small for his age and hesitant to fight. As a result, he is pushed around by the other kids in their weapons training sessions and looked down on by his father the king. Despite this, he is friends with his strong friend Teela and is encouraged by his teacher, Teela’s dad, the head soldier Duncan. Adam’s home is Castle Grayskull, home to a sacred sword of power and protected by a mage known as the Sorceress. When the evil sorcerer Skeletor and his partner Evil-Lyn attack the castle, the king’s forces are overwhelmed. The queen, who is from Earth, is forced to send Adam and the sword to safety through a portal to Earth. But in the fall to Earth, Adam loses the sword. Suddenly (one time skip later), fifteen years have passed and Adam is going on Tinder dates and working in HR in Oklahoma City. Despite his average life, he is obsessed with memories of his home planet (although no one believes him) and is determined to regain his lost sword. When he finally finds it, it triggers an attack by a fantastical creature, which leads to a rescue by his now grown-up friend Teela, who takes him back to Eternia. Adam must use the sword and his own inner strength to rescue his parents, free his people, and retake his kingdom from Skeletor.

The major strength of this film is the lead actors. Nicholas Galitzine is believable and enjoyable as a likeable but insecure everyman who knows he’s destined for more than the drudgery of his day job. Camila Mendes, who did several seasons as Veronica in Riverdale, is excellent as the no-nonsense, sharp, grown-up-in-the-room in all of the scenes. Idris Elba is, as always, perfect as Duncan, who ranges from tough teacher to substitute father figure to defeated and depressed drunk to fierce soldier. Kristen Wiig is also funny as Duncan’s sarcastic robot companion. There is even a Dolph Lundgren cameo, where the former He-Man actor gives Nicholas Galitzine some cryptic advice about the way to be a hero.

There are many funny moments in this film, including the opening scene where Adam is telling his complicated life story to his eyerolling blind date. Although not all of the jokes hit, the story is, for the most part, amusing and very kid-friendly. Unlike other superhero live-action films, Masters of the Universe opts for comedy and camp as its primary tone. The choice is a bit unexpected in this age of edgy superhero interpretations that are either grim or cynical. Masters of the Universe is closer to the tone of the Barbie movie or the live-action One Piece series. But it opts out of Barbie’s cerebral social commentary sarcasm or One Piece’s balance of outrageousness and grim intensity. It’s most similar in tone to the 2017 live-action Power Rangers, a film that tried to balance a modern, edgy aesthetic with classic, campy, kids show nostalgia. Power Rangers was a film that started off edgy/cool in the first half and then jarringly dove into campy kids nerdiness in the second half. However, Masters of the Universe has a clear target audience and vibe in mind, and stays consistent in its tone of lightness, kid-friendly playfulness and self-aware nostalgia.

In fact, the film is very self-aware of its campy nostalgia. Adam reps the old Prince Adam outfit by wearing a pink button-down shirt and jeans in his non-He-Man scenes. He repeatedly acknowledges the goofiness of some of the things he says or does, admitting that many of his choices are based on a child’s worldview and childhood memories he wants to reconnect with. Although he is an adult, it is clear he is emotionally stuck in his childhood trauma, loss, and insecurity. In the original He-Man animated series, Adam’s fearful or lackadaisical attitude was an artificial cover for his alternate identity. In Masters of the Universe, he has genuine hesitation and insecurities. And when he transforms, everyone around him knows he’s the same person with the same insecurities. This evolution of the premise is an asset to the story, to humanize both him and his connection to his friends. And it avoids the always annoying trope of close friends not noticing that the hero and their clearly identical alter ego are the same person.

However, despite the appeal of the story and the fun tone, there are some elements of the film that are confusing. Given the intentional and thoughtful characterization of Adam, it’s odd to leave out any reference to his childhood upbringing on Earth. He talks about life on Eternia as if it is the only thing he knows. In other lost prince/princess stories, we get at least a quick explanation of their survival. Superman was adopted by the Kents; Emma from Once Upon a Time was raised in foster homes in the U.S. The absence of even a passing explanation for his survival was a distracting plot omission that felt like a missed opportunity to give this Oklahoman Adam some personal context. His bestie and roommate Hussein is a likeable but underused character who mostly disappears from the plot without an opportunity to get to know about his connection to Adam. Another strange choice is an extended detour into Adam’s day job at a human relations company where his obsession with swords gets him in trouble. There is a particularly protracted scene of his boss (an excellent Sasheer Zamata) lecturing him on sensitivity in a way that paints her as a semi-villain (she seems almost like a corporate counterpart to Evil-Lyn), and the scene is clearly meant to mock corporate sensitivity lingo. The fact that a consent joke is twice used as a derisive punchline is another strange choice. Later in a crucial moment on Eternia, Adam initially opts for negotiation and empathy when everyone wants him to fight, but he is soon forced to abandon that approach in favor of fighting. This throughline is a confusing theme in a film that is otherwise fun, optimistic, and likeable.

Like many films lately, Masters of the Universe is at least thirty minutes too long, especially for something that is primarily a comedy adventure. It is a film that has plenty of kid-friendly content and doesn’t take itself too seriously. The very last scenes and the first post-credits scene emphasize this lightheartedness with a big homage to the original 1980s cartoon in its final send-off. Although it deals with themes of empathy versus aggression and self-confidence versus insecurity, the overall story is mainly a fun reminder of childhood imagination and adventure. Depending on your mood, that may be just what you need.

Nerd Coefficient: 7/10.

Highlights:

• Self-aware nostalgia
• Solid acting
• Kid-friendly content and humor

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Sentenced to Be a Hero

An intriguing fantasy premise that would benefit from deeper character development

The Winter 2026 Anime season was loaded with the return of major heavy hitters from the past including Jujutsu Kaisen, Frieren, Fire Force, and Hell’s Paradise. This powerhouse lineup made it hard for new shows to stand out. But, Sentenced to Be a Hero arrived as a debut anime with lots of promise, in both its premise and its animation style. The initial concept was unique and the character design was appealing. While the show is entertaining, it’s hard to say why this promising story doesn’t land as a mega-hit the way one would expect, especially since it seems to check the boxes for a fantasy adventure anime.

Sentenced to Be a Hero is set in a magic medieval like world where knights (soldiers), under the direction of the local military and religious leaders, battle hordes of monstrous creatures (demons) to protect civilians from destruction. The knights are periodically helped by magical creatures known as “goddesses” who have special powers. The series is primarily the story of Xylo Forbartz, a heroic knight who falls into disgrace when he is betrayed in battle and falsely accused of murdering his partner goddess. He tries to explain the circumstances of the goddess’s death but it’s clear the trial is rigged. Instead of being simply executed, he is sentenced to serve as a “hero.” In this culture, “heroes” are executed convicted criminals who are magically brought back to life and forced to protect the kingdom. Since they are convicted criminals, they are looked down on by other knights and by the local people. Each hero is sealed by a spell that grants them miserable immortality. In the event that they are killed they are brought back to life to continue fighting and suffering. However, each reanimation strips them of memories and their humanity.

Xylo is wrongfully convicted and sentenced to an eternity of servitude basically doing the kind of work he was doing when he was a holy knight. However, the heroes have minimal resources and are given the most dangerous assignments including suicide missions. Although they can move around and still exist as seemingly normal humans, they are controlled by seals around their necks and must comply with orders or face a painful death and reanimation. Xylo heads a ragtag team of other convicted heroes, including the fearful thief Dotta, the con-artist Venetim, the slightly unhinged killer Tsav, and the mentally unstable Tatsuya. There is also, Norgalle a strong, older fighter, who lives under a delusion that he is a benevolent king. Dotta stumbles upon and steals a box containing a new immature goddess Teoritta. Teoritta insists on forging a pact with Xylo despite his reluctance due to his prior bad experience with his previous goddess. However, when an attack by swarms of demons puts hundreds of military lives at risk, he capitulates and accepts her help. He and his ragtag team of enslaved heroes are forced to assist a squad of knights under the leadership of Captain Kivia, a woman who initially distrusts Xylo but eventually becomes a grudging ally. The rest of the series focuses on various battles and rescue missions involving the growing demon horde and the search for the various demon lords who control them. Along the way we are introduced to more members of Xylo’s team who apparently don’t always fight together, including dragon rider, Jayce and creepy, overly polite soldier Rhyno. Eventually, we learn the story of how several members of team became trapped as heroes. In almost all of the cases, the heroes are sentenced unjustly as part of a corrupt government cover up. Manipulating all of this drama are shady religious leaders, undercover demons, and local demon sympathizers who are happy to betray humanity.

Although each member of Xylo’s team has a distinct name and an overtly referenced personality type (thief, con-artist, killer, dragon-rider), I often found myself double checking who was being referred  when a name was mentioned. The supporting characters were conceptually interesting, but in the execution of the story, they seemed underdeveloped and not fully emotionally engaging. Unlike other anime where the side characters are essential to understanding the main protagonist, these supporting characters are mostly limited in terms of evoking emotions from the viewers. Even Xylo himself doesn’t reveal much about his backstory (family, upbringing, childhood trauma) and doesn’t meaningfully evolve over the very short season. Xylo is grumpy, understandably cynical, and pragmatic. He is paired with the newly birthed “goddess” Teoritta who is sunshiny, childlike, and egotistically optimistic. Even though she is called a goddess, Teoritta is basically still a person and vulnerable to being killed despite her magical powers. Teoritta is distinctly portrayed as childlike and not as a romantic interest. She is similar to Sylph, Yuno’s bossy, possessive, sprite-like wind spirit companion in Black Clover. Her personality is a contrast to the general serious vibe of the other characters. Teoritta and the other goddesses rely on praise to bring meaning to their lives and she is constantly asking praise from Xylo who is initially belligerent to her in a classic grumpy-sunshine trope. Xylo and the supporting characters are likeable but underdeveloped and the series relies more on the political plot than the interpersonal relationships to tell the story

Battling demons to save humanity is a story that has been done often, including in shows like Black Clover, Fire Force, Frieren, and even Bleach. Sentenced to Be a Hero revisits this popular story concept with a fresh premise of the forced sentenced heroes. But once the story gets rolling, the ultimate execution still feels like something we’ve seen before. As such, it is reasonably entertaining but not as innovative and uniquely engaging as it could be. Most major and popular anime have a moment that builds a surprising emotional connection with the viewers through a poignant moment, a tearjerker scene, a stunning moment of battle, a unique character introspection, or at least powerful and inspiring character camaraderie. Those elements are mostly missing from Sentenced to be a Hero. Fortunately, towards the end of this very short season, there are some big revelations and surprising developments that help make up for the intervening flat moments. Ironically, the person with the biggest character arc is the initially antagonistic Kivia, as she experiences a major shift in her worldview. Xylo primarily only evolves onscreen in terms of his treatment of Teoritta, as he gradually grows more protective of her when he realizes how many people want to hurt her. Surprisingly, one of the other best characters, is Frenci, Xylo’s former fiancé who is clever, cynical, and loyal to Xylo. Her status as fiancé also indirectly provides some abstract insight into Xylo’s prior life.

Beyond these small insights, Xylo, remains mainly stoic, vacillating mostly from annoyance to irritation. It’s not until around the seventh episode that we see him actually smiling. His perpetual baseline of irritation makes sense given the premise that the heroes are generally like inmates, not friends, and are not very emotionally connected to each other. That kind of emotionless presentation may make sense for the story concept, but it is hard to pull off without risking disconnect. Frieren is an example of a show with an initially stoic protagonist. However, over time she became a much more complex character. Solo Leveling is another series with little emotional content or fleshed out characters, but it still manages to be entertaining due to the intense and creative video game inspired action. The battles and victories in Sentenced to be a Hero are often overshadowed by the pervasive sense of injustice that are an inherent part of the corruption story. Fortunately, there are a few positive moments of inspiration where the townspeople show appreciation and even Xylo has a moment of surprise at being shown gratitude. 

Overall, Sentenced to be a Hero is a reasonably entertaining show that has a unique initial premise. But the overall plot feels familiar and the characters are underdeveloped in a way that risks disengagement, despite some dramatic moments in the series. Diving deeper into the characters in the future would be a risk that could be worth the payoff, especially given the short season.

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The Math

Nerd Coefficient: 7/10

Highlights:

• Unique and intriguing premise
• Little character development or story energy
• Complicated list of characters navigating a familiar plot structure in short season

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Video Game Review: Ghost of Yōtei by Sucker Punch Productions

Let the wind gently guide your hand to the purchase button

Whispering winds carry upon them the golden leaves of the gingko tree throughout the waving fields of grass and rice throughout Ezo. There is wisdom in the winds, and alongside them comes Atsu, a young woman intent on attaining retribution for her long-dead family. Ghost of Yōtei occurs hundreds of years after the much loved Ghost of Tsushima, and though the story and all its characters are new, there is much that has been shared.

To begin, this game is gorgeous. The intro is enough to let you know the developers have taken care to infuse the spirit of this historical timeframe in Japan with their own art style. From the snow-capped mountains of Teshio Ridge to the multi-colored flora and fauna in the Yōtei Grasslands that open their arms to the player upon booting up the game, every aspect of the world feels beautiful and well crafted. The art design is not focused on hyperrealism, instead going for a specific feeling, one that captures an almost painted artistic aesthetic of what Japan would have looked like in the early 1600s. The small villages and towns feel lived in, the roads feel traveled (yet dangerous), and the castles and prominent landmarks (like Mt. Yōtei) all take on a life of their own. Exploration in Ghost of Yōtei never suffers from a lack of beauty.

It’s odd; I remember enjoying Ghost of Tsushima, but have trouble remembering many of the specifics outside a bunch of the story beats. I think it may have something to do with the game being a better version of a “Ubisoft clone,” much like the Horizon series. Unlike some of the more contemporary games (like Elden Ring) that eschew this approach to exploration mechanics, Ghost of Yōtei embraces the classic format. And like Horizon, it takes said format and makes it its own. Instead of using some sort of tower to unveil playable areas, paying for maps from the cartographer or accepting bounties will place markers on the player’s map that create a more natural sense of exploration. On the way to a particular place, you may run into a golden bird that may lead you to a hidden area, some new charm, perhaps help a wold in trouble, or relax at a hot spring that you can use to increase your health. Like I mentioned earlier, the world is entrancing, and it never felt like a chore to go from one place to another. Fast travel is instantaneous, and nothing feels too far away.

The game throws you right into the thick of things. With Atsu back in Ezo for her revenge against Clan Saito and the Yōtei Six, Ghost of Yōtei immediately places the player in combat. Traditional of more modern action games, the player can use heavy and light attacks, block, parry, and dodge, among other moves. The gameplay feels great, and taking on multiple enemies, or even taking on one specifically challenging boss, feels appropriately climactic and cinematic. While the duel showdowns are not as flashy as in Ghost of Tsushima, the sentiment still resonates with each intro; a battle to the death feels like it (even if the gameplay loop does not support that narrative for the player).

Swordplay feels great. Though I suppose I should expand to say combat feels great, as multiple weapons become available over the course of the game. Though the general play style is still the same, knowing when to switch and use which weapons against which helps with breaking opponents’ stagger gauges, making the challenging fights much more manageable on higher difficulties. In combination with the quick-fire weapons (like smoke bombs) and ranged weapons (like bows), the combat is engaging throughout the entire experience. Even while I was going around finishing up the non-combat related collectibles at the end of the game, I would still engage in combat to enjoy a bit of that Sucker Punch fun. Knowing when to use your spirit to heal or disarm an enemy comes with hours of experience (that I still did not always get right).

I occasionally had some issues with visibility, specifically when facing many surrounding enemies. Especially ones with longer-range weapons like the yari and the kusarigama. The developers made some accommodations for the player by showing a light from the direction a bowman was about to fire from (and simultaneously, any enemies around the player will duck to avoid the arrows). But sometimes the number of enemies is overwhelming. It would not have irritated me as much if there were no mechanic that relies on not being hit. Trying to build up your howl only to get hit by an unseen enemy was a tad annoying. Not a huge issue, but something I ran into quite a few times.

I refuse to speak for everyone here, but I have to say, I think the map is a fantastic size. It felt explorable while not being overwhelming. Many games try to cram everything (plus the kitchen sink) into their game to pad it with more content. Ghost of Yōtei feels like just enough. After fifty hours, I feel like I have unlocked almost everything, and yet, I still feel like I explored a pretty large game world. The side content feels good, albeit with a few underwhelming quests. I enjoyed learning music on my shamisen and would play some songs when I was walking around. The bounties are fun and varied, many with a story of their own that end in surprising ways. Sucker Punch took care to ensure that the side content felt meaningful, even if there are a few missed opportunities.

The story is great. It may not win any awards, but the characters are solid and their motivations sincere (though I believe Atsu’s motivation shifts a little too quickly toward the end). Voice actors are believable, and the animations that accompany them are fantastic. The voice acting done for some of the younger characters is done by adults, and it sounds terrible. Aside from that, the adult performances are spot on. Traditional revenge tale cut up into segments. Atsu is after the Yōtei Six for the murder of her family; she intends to cross each name off her sash.

While the gameplay loop works well, sometimes the desire for player choice impacts the believability of the world and story. For instance, early in the game, you can choose which member of the Yōtei Six to go after; upon completing whichever sequence you choose, some cutscenes will mention only the first member that you killed (which is necessary to advance the story right away), while others will incorporate every member you have dispatched. There is no order to it, and it would sometimes remove me from the world and remind me of the illusion of choice so elegantly debated in the gaming scene over these last few decades. While the facial and gameplay animations are fantastic, there are some minor animation issues throughout the game that are stiff or clunky, but they rear their heads so infrequently that when they happen, you notice.

Ghost of Yōtei’s story, like the rest of the game, doesn’t shatter any boundaries, doesn’t reinvent the wheel by any means. What it does, however, it does very well. Set in Japan in 1603, the game can easily transport you through its beautiful world and complex characters if you let it. I never felt the game falter for very long whenever it did (a boring side mission here or there), and I never felt the need to put it down for long. Coming from the superhero-charged Infamous series, it’s impressive to see what Sucker Punch has done in representing the Edo period in Japan’s history. I have yet to try the Kurosawa mode because I feared missing out on the vibrancy provided by the developer’s aesthetic, but it is an option for those seeking a more authentic black-and-white samurai experience with Japanese voiceovers. While some of the supernatural side quests push the boundary a little more than I’d like, the game feels grounded overall, something I much appreciated.

Those who like samurai/shinobi style games with a good story are in for a treat. If you have not played Ghost of Tsushima, it is not a necessary experience. As I’ve mentioned, this game occurs three hundred years later. There are references to the past, but they aren’t anything significant and wouldn’t hinder one’s enjoyment of the title. For those of you who have played the original, I believe this title is superior to Tsushima in most ways. With Ghost of Yōtei: Legends (a free multiplayer addition) on the horizon, the game will offer even more bang for your buck.

The Math

Objective Assessment: 8.5/10.

Bonus: +1 for beautiful authentic aesthetic. +1 for focused content.

Penalties: −1 for occasional visibility issues. −1 for story layout/cutscene implementation.

Nerd Coefficient: 8.5/10.

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

TV Review: One Piece Live Action – Season Two

Picking up the pace with more quirky characters, lots of fighting, and some tearjerker moments as Season 2 sails into the Grand Line.

After a long wait, the second season of Netflix’s One Piece live action series has finally arrived. Season One of One Piece was a hit with a range of fans as it explored the adventures of a pirate boy and his ragtag crew. Due to the quirky nature of anime in general, it’s normally a challenge to bring those fantastical stories and characters to life in a live action format. Fortunately, Season One managed to navigate the source material’s wild visuals and storytelling to create a show that appealed to everyone from complete newcomers to superfans. The show has strong diversity in its characters and great character chemistry which draws the audience in. In Season One we met the five original Straw Hat crew members, one at a time, with pacing that allowed for poignant backstories and the development of strong character chemistry in the midst of some big adventures. In Season Two, the slower pace is gone, and the show dives right into a dizzying array of new, outlandish characters along with lots of fight scenes brought on by the busy new antagonist, Baroque Works. While the new adventures lack the wonder of the first season, the characters are still charming and the adventures are still entertaining, particularly for long time fans.

Summary: Luffy (Iñaki Godoy) is an enthusiastic adolescent boy in pursuit of his dream to become a pirate and to ultimately become the “king” of the pirates. To do this he must find a hidden treasure known as the One Piece. Luffy gradually assembles a rag-tag but loyal crew to join him on his hunt for the One Piece which is hidden in a dangerous place known as the Grand Line. Among his crew are Zoro (Mackenyu), a fierce and cynical swordfighter; Nami (Emily Rudd), a cartographer and navigator; Usopp (Jacob Romero), a shipbuilder with a knack for exaggeration; and Sanji (Taz Skylar), a suave chef who is talented at both cooking and fighting. Luffy calls his crew the Straw Hat Pirates in honor of the straw hat he wears. Season 2 begins with Luffy and his crew finally entering the Grand Line and realizing how much they underestimated its wild nature and complicated politics. The primary antagonist for the second season is an assassin agency known as Baroque Works whose oddball killers target Luffy and his crew. But things get more complicated when Luffy comes to the aid of Vivi, an undercover princess, and meets a shapeshifting reindeer named Chopper. 

While the first season did a good job of entertaining a wide range of viewers, Season Two seems more targeted to established fans. Many of the new villains appear with little introduction and the plot moves fast as new obstacles and new adventures arrive. But, as in the first season, we are helped out by explanatory signs that fly onto the screen when a new character is introduced. The design and presentation are different from the first season, but it’s still a helpful tool, especially if it’s been a while since you’ve consumed the anime and don’t immediately catch the characters’ outlandish visual cues. The new adventure brings to life episodes of the anime’s early story arcs including the amusing giants of Little Garden and the tragic oppressed kingdom of Drum Island. As the plot and the pirate ship move along, several of the show-stealing characters from the live action’s first season are left behind, or only have brief moments on screen, including pirate captain Buggy the Clown, the pure-hearted Koby, and the stern marine commander Garp.

Fortunately, Season Two adds appealing new characters with particularly good acting. Among the best are the determined Princess Vivi, played by Bridgerton’s Charithra Chandan, and the stalwart, guilt-ridden Drum Island soldier Dalton (Ty Keough), the ultimate green flag hero who finds his true strength. But the most fun arrivals are the sweet and much awaited, Tony Tony Chopper (Mikaela Hoover) and his gruff mentor Dr. Kureha (perfectly played by Katy Sagal). One Piece stands out in anime for its particularly fantastical characters in very outlandish costumes. The live action show does a good job of adapting the character designs, rather than just directly copying them, so they fit in a real-life setting. This is especially true for the adorable Chopper, an orphaned reindeer who gets turned into a human-reindeer hybrid after eating a magical devil fruit. Chopper is the kind of character who seems impossible to pull off in a live action but the show succeeds in making him believably real and endearing, rather than artificial and creepy. Like Golum in the Lord of the Rings movie, Chopper is presented via motion capture so the facial expressions are heartbreakingly engaging.

Some of the future main characters like Brook and Nico Robin appear briefly as set ups for future story arcs in future seasons. The main plot of Season Two is Baroque Works versus the Straw Hat Pirate. With so many Baroque Works agents the story focuses more on adventure and fights and less on the slow moments of character introspection that we saw in Season One. However, we do get some thoughtful and emotionally impactful intervals with the tragic stories of Chopper and his former mentor Dr. Hiruluk, and also with Dalton finding his voice and strength to deal with the despotic oppression of his people. There is even a rare quiet moment of Sanji recalling cooking for his sick mother when he was a child.

While Season Two doesn’t have the same magic of the first season, it is still a fun adventure that manages to capture some moments of emotional storytelling and manages to showcase some appealing new characters. The pacing is fast and the tale feels like it is over quickly, leaving viewers anticipating the next adventure in the Grand Line. But overall, long time fans will enjoy seeing more of the major characters come to life in this latest wild adventure.

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The Math

Nerd Coefficient: 7/10

Highlights:

• Faster pacing, more fighting
• Appealing new characters
• Emotional moments buried in the non-stop action

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Spy x Family: Season 3

Spy x Family returns for a bold, emotional, and action packed season 3.

Anime seasons ebb and flow, with some seasons feeling slower and others being absolutely amazing. After an uneven second season, everyone’s favorite fake family has returned in fierce form for an action-filled and emotion packed Season 3. The latest stories of super-spy Loid, lethal assassin Yor, mind-reader Anya, (and clairvoyant dog Bond), are poignant, stressful, and very entertaining.

Spy x Family takes place in Ostania, a fictional 1960’s style country in a cold war with its enemy, the neighboring Westalis. To prevent another devastating war between the neighboring countries, a cynical Westalis super-spy (Agent Twilight) is ordered to spy on an extremely reclusive Ostanian political party leader. The only way to do this is to enroll a child in the elite Ostanian private school that the political leader’s son attends. To create the required fake family, the spy takes on the fabricated identity of psychiatrist Loid Forger and adopts young Anya from an orphanage but is unaware that the child is a telepath. He then meets Yor, a sweet and kind city hall clerk who needs a fake marriage to help with her own job security because, in Ostania, single women over a certain age are often suspected of being spies or insurgents. Unbeknownst to Loid, his new wife Yor is secretly an elite assassin. Yor is genuinely kind when she’s not killing people at her night job, but she is a little clueless when it comes to normal life and she is unaware that mild-mannered Loid is a super-spy. 

Only telepathic Anya knows the truth about her adoptive parents’ true identities but, thanks to her obsession with violent crime tv shows, Anya finds Loid’s and Yor’s hidden occupations to be very exciting. After a wild adventure, the family adopts a clairvoyant dog they name Bond but only Anya can sense Bond’s premonitions about the future. Rounding out the cast are Anya’s grade school classmates, Damian, the political target’s young son, and Becky, a pampered but friendly heiress. We also meet Franky, the comic relief informant, and we meet Yor’s stressed out younger brother Yuri, whom she helped raise after their parents died. Unbeknownst to Yor, her brother is a member of the secret police who is suspicious of Loid. Because Loid, Yor, and Anya are all orphans, the show emphasizes the importance of both biological and chosen family ties. The balance of cuteness and violence is what sets the story apart, especially with a cast of funny supporting characters, all with 1960’s fashionable clothing and a cool retro setting. 

Season 3 has three primary story arcs. The first and strongest arc is the long awaited deep dive into Loid’s backstory. Throughout the series, we are reminded that “Loid” is a fake name for the spy “Twilight” which a fake name for a person whose true identity remains a mystery, even to viewers. Like Sai in Naruto Shippuden, Loid/Twilight has lost his original identity and takes on a new transient persona for every job. Also like Sai, Loid begins to change when he takes on a role in his new found family that reignites his long hidden emotions. But who was Loid before he accepted his life of deception? Other than a few fleeting flashes of a crying child, we know nothing about Loid other than that he suffered the devastation of war. Over a series of beautifully written episodes in Season 3, we learn about Loid’s creative childhood friends, his harsh father, his protective mother, and the idyllic town in which he was born. Without revealing his or his parents’ names, the story shows us how he went from being a playful imaginative boy to being a war orphan, then a jaded soldier (including a poignant early encounter with his current informant Franky), and eventually accepting recruitment into the spy program. After losing everything he loved, he learns to be distrustful of others and to use deceit to survive. However, despite the repeated negative impressions of the Ostonians who attacked his country, it is ironic to see how close and protective he has become of his make-believe Ostonian family. 

The second major story is a terrorist hijacking of Anya’s school bus. Conveniently for the plot, Loid and Yor are unavailable to help, which means this story is focused on Anya and her school crew who are on their own against a violent group of hostage takers. Unlike Loid’s backstory arc, the hijacking episodes have lots of traditional Spy x Family humor notwithstanding the tense premise. Despite the weapons pointed at her, Anya’s mindreading gives her an upper hand with the kidnappers as does Damian’s grumpy bravery and protectiveness, and Becky’s cleverness and loyalty. But the key to cracking the situation occurs when Anya discovers tragedy involving the main hijacker’s daughter and her involvement in a political protest. This gut-punch of sadness sits in sharp contrast to the primary humor and adventure tone of the story. 

The third major story is the spy conflict that ultimately pits Loid against his brother-in-law Yuri in a tense battle of wits and fists. Loid’s Westalis spy agency is betrayed by a double agent who steals their information and plans to sell that data, including the identity of their agents, to Ostania. Loid is ordered to stop the traitor before he makes it to his meeting with the Ostanian secret police. Unfortunately, Yor’s brother Yuri is part of the squad meeting the traitor and he is on the lookout for the famous spy Twilight to make his move. After much speculation throughout the series, we finally see Loid and Yuri facing each other in their true spy versus secret police personas. The result is intense and fast paced excitement with just enough family drama and irony to tie it together. 

A shorter but still funny mini-story is the introduction of Damian’s seemingly cheerful mother, Melinda whose encounter with Yor leads to a day of fun in which Yor repeatedly and inadvertently shows off her superhuman strength. However, in the hijacking arc we later find out that Melinda’s cheerful exterior hides disturbing thoughts and emotions towards her mostly neglected son. 

A common thread throughout the third season is the importance of family in all of its various forms. A second, less endearing theme, is the harm caused by authoritarian regimes and political machinations. Spy x Family’s premise is modeled on regimes that are politically repressive. Yor was originally willing to accept the fake marriage because being a single woman makes her look suspicious in their society. However, in Season 3 we truly get to see how repressive a society Ostania is. We also finally get to see Yor’s brother Yuri in action as an agent of the Ostanian Secret Police. His single-minded dedication to the government is unsettling, especially since it is the same government that puts people at risk just for being “different.” Overall, Season 3 of Spy x Family has the strongest storytelling thus far. It dives into difficult subjects and pauses the humor long enough to do those moments justice. But there are still moments of the traditional Spy x Family dark comedy, especially with Anya having to navigate a dangerous situation with the help of her elite school classmates instead of her super powered parents. This combination of intense storytelling and complex emotions make Season 3 of Spy x Family the strongest so far.

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The Math

Nerd Coefficient: 8/10

Highlights:

• Tragic and poignant backstory
• Big themes of family and political machinations
• Strongest storytelling so far

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.