Category Archives: anime

Kizuna no Allele Spoiler-Filled Review

Kizuna no Allele is an idolish music series directed by Kenichiro Komaya. Wit Studio and Signal.MD produce the series. The latter is known for series such as The Ancient Magus’ Bride and Spy x Family, and the former for FLCL Progressive and Atom: The Beginning. In addition, Deko Akao wrote the show’s scripts.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-sixth article I wrote for Pop Culture Maniacs. This post was originally published on August 25, 2023.

The series itself has a strange origin. It is an adaption of a YouTube channel by Kizuna AI, a Japanese virtual YouTuber, known as VTuber. This has led to claims that the series is a “forced meme” or that it embodies the “artificiality of pop entertainment in Japan.” Whether that is entirely true or not, the series clearly has some positives in its favor. Well-known studios are producing it. A scriptwriter (Akao) is known for her work on My Roommate Is a Cat and Komi Can’t Communicate. One of the show’s composers (Go Sakabe) composed the opening and closing songs for Gosick. The show’s art director Masakazu Miyake worked on series such as Fate/Zero, Spy x Family, and Steins;Gate.

While saying all of this, I had serious reservations about Kizuna no Allele, regardless of whether it an attempt by Kizuna AI to revive her brand or not. For one, the musical sequences, reportedly resembling actual VTubers, seem awkward and strange. This is especially the case to those who don’t watch that sort of content.

The main character, Miracle (voiced by Ayumi Hinohara) is not as sympathetic as she could be. She is trying everything she can to become a virtual artist/performer, i.e., a VTuber. She attends a school named Artist Garden (Aden) Academy dedicated to that goal. That school is almost equivalent to a school where people train to be influencers on Instagram or a YouTuber. It is clearly absurd.

One character shines through: Noelle. Voiced by Yuka Nukui, she challenges Miracle, a huge fangirl of Kizuna, to be better. Both go to school in the virtual world. Possibilities are said to be limitless. At first, it appears that Noelle is bullying Miracle. It is later revealed that her family pressured her to be “the best.”

Later, she becomes a mentor of sorts telling her to face songs head-on. She brings her to a room where bubbles light up different colors depending on the interaction. In a touching scene, she declares that if you understand a song’s lyrics, it will come out differently. She encourages Kizuna to tap into her abilities.

She has stronger character development than Miracle. This truly begins in the show’s fifth episode. Some painful history which weakens her emotional connection to her parents is implied. In a final scene, she declares that everything must be “perfect.”

One parallel is Kōsei Arima in Your Lie in April. His mother gives him strict piano instruction. He is so scarred that after her death he stops playing piano since he can’t hear sound when he plays. This series is different. Noelle is pressured by her parents (and sister) to be the best. However, she has the notion she must be “perfect,” even though they never directly told her this. Miracle plays an important part in making Noelle a more whole person.

The series seems to be pro-A.I. An A.I. named Vaity wakes up Miracle in her swanky high-tech apartment every morning. The character, Chris, is hinted as A.I. before episode seven. Chris (voiced by Hikari Codama) is clearly crushing on Miracle, calling her cute and kissing her on the ear in the second episode. As such, the series is yuri-ish, as much as Ippon Again!. It isn’t directly yuri like Yuri Is My Job!, Birdie Wing, or Mobile Suit Gundam: The Witch from Mercury. The latter, not the former, makes the series enjoyable, including when Chris gives Miracle tips on how to improve her dancing.

The person in the atrium adds mystery to the series. This character eats neatly and drinks tea. In some ways, the character reminds me of Victorique de Blois in Gosick. He seems out of place since much of the series takes place in Aden Academy and is like a character in another show. This is the case for a (different) character named marumaru. Miracle often uses marumaru as a pillow, with the latter calling the former “ordinary”.

While the fact that there are contests and school administrators is consistent with other idol shows. What sets Kizuna no Allele apart is the direct mention and almost encouragement of A.I. In a post-credits scene in the third episode, there is a question about non-fungible tokens, known as NFTs. A simple explanation is provided. NFTs have clear copyright, storage, environmental, and security issues.

This is compounded by the fees charged and manipulation of NFT prices. Some have voiced concern that these tokens are pyramid/Ponzi schemes and pointed to financial uncertainty of the data files. They function like cryptographic tokens, but are not so-called “cryptocurrencies.” This isn’t mentioned at all. This led some to say the show is shilling for NFTs. In this series, A.I. tools rank V-Tubers. In the 11th episode, participants in a music festival get an event NFT as a prize.

This uncritical focus on A.I. stands in contrast to the omniscient, godlike A.I. as depicted in the six-part OVA named The Orbital Children. This series almost encourages creation of anime by A.I. The latter is not possible. A.I. tools like ChatGPT are “incapable of creating anything new.” They can only pull in what already exists. Consider Angela Carpenter in Carole & Tuesday who works with Tao, a music producer who uses advanced A.I. to ensure performers are profitable. That plotline is better constructed than Miracle wanting to write her own lyrics rather than A.I. tools.

Other series are more critical of A.I. than Kizuna no Allele. The same can be said for Cleopatra in Space. It has a paranoid A.I. scared of ghosts, near PYRAMID Academy which generates electricity for the campus. Later, an evil A.I. named Cyrano created by Octavian tries to control one of the protagonists.

Star Trek: Lower Decks and Moon Girl and Devil Dinosaur portray A.I. with more depth than anything this series has to offer. The former series has a malevolent computer A.I. in the second season. The latter has a “living” A.I. supercomputer and an entire episode on the dangers of A.I.

Otherwise, this series also reinforces, in many ways, expectations of idol femininity, even if it possibly subverts it. This isn’t, necessarily unique, as those series within the Love Live! franchise, BanG Dream!, and If My Favorite Pop Idol Made It to the Budokan, I Would Die, to name a few of the over 90 idol anime and manga out there, do the same.

Undoubtedly the series has a strong animation style and intriguing designs. But, it isn’t as nuanced as Do It Yourself!!, which gives the lesson that do-it-yourself (DIY) ethics can mesh with techno-optimism and technology. Instead, Kizuna no Allele appears to be taking the side of the tech bros who favor A.I., rather than approaching the topic in a more critical way. This is one of the many downfalls of this series, to build upon what I’ve mentioned earlier in this review.

Another one of the issues of Kizuna no Allele is that it took time for all those in the opening sequence of the series to have a significant role in the series. For instance, Riz (voiced by Arisa Hanawa) does not have much a role until later on in the series. In fact, she begins to get a spotlight in the end of episode eight, when she declares that she might have collected enough data as she rides on her fogelboard (a hoverboard-like device) catching the viewer’s attention for the first time in the series.

The music in this series is only passable, apart from opening and closing sequences, by Ayato Fujiwara and MikitoP respectfully. While this is the first series Fujiwara has worked on, MikitoP has composed for Kochoki. Sometimes it feels like the V-Tuber music would be better to listen to than watch. The animation sequences with characters in V-Tuber form can look a bit ghoulish.

Apart from previous criticism of Kizuna no Allele, in terms of subpar music and positive views of A.I. (and presumably NFTs), there are some positives. For one, Noelle takes Miracle under her wing and teaches her the importance of music, while Miracle does the same for Noelle. In fact, in the show’s sixth episode, she helps give Noelle the confidence to write her own song, and get beyond her previous dedication to be the best she can be, which even resulted in self-harm.

More importantly, Miracle, and the show itself, emphasize that you should follow your own goals, not those imposed on others, and that it more important to be someone you love than to be perfect. This emphasis on self-love allows Noelle to open up more to Miracle, resulting in her smiling, and laughing, for the first time in the series.

There is the continuing mystery of marumaru and Chris. The series, like Ippon Again, seems to be saying that hard work can pay off. That isn’t always true. Furthermore, the animation of this series flows well and there are some cute scenes with Miracle, meaning that she is relatable.

In the seventh episode, Chris goes on a journey to find herself. Miracle and Noelle look at her previous streams to find out more about her. They become such good friends that Noelle finger-flicks Miracle on the forehead when she gets annoyed. This shows their connection between each other.

The importance of self-discovery fits with other themes in Kizuna no Allele. In episode seven, one of the best episodes in the series, there is an unsurprising revelation. Only half the students base their avatars on their real-life appearance. Chris seems to be a real-life student, but Miracle doesn’t want to bother her.

This episode builds on previous plot development. Specifically, Chris is even more direct with her romantic feelings with Miracle, declaring she can only overcome obstacles with Miracle in a sort of love confession. She later adds that she wrote lyrics only thanks to Miracle, who says she wants to be better friends with Chris.

All of this interlinks to the growing camaraderie, by the seventh episode of Kizuna no Allele, between Chris, Noelle, Miracle, and even marumaru. Miracle is criticized by Noelle for “dragging” them down, as she hasn’t produced original lyrics. Even so, Miracle still supports her. Almost akin to the sub-plot in Alice Gear Aegis Expansion, Principal of ADEN Academy reportedly has a devious, or evil, plan. One character says in the 11th episode they need to stop ADEN’s plan. The academy is described as existing across the world and run by the ADEN Network.

Many loose ends are tied up in the eighth episode of Kizuna no Allele. At first, it seems like any other episode, with the video streams of Noelle and Chris. Miracle worries that she is falling behind in her rank and views. However, something important is revealed: marumaru is actually Quan (voiced by Rina Kawaguchi). Miracle has been confiding in marumaru since episode one. Only the audience knows they are the same. As such, it is clear Quan has been front and center the entire time. Miracle even states that marumaru is not boring or pathetic.

The 11th episode turns this on its head. Noelle, Riz, Miracle, and marumaru perform at the Shower of Sound festival. While they fail, marumaru feels that their present form isn’t good. Even though Miracle says that marumaru doesn’t need to change anything, they transform into Quan, their “true self.” This Quan is not like the one in the aviary. Rather Quan is a girl who appears in the series’ opening sequence. Quan in the “real world” is a mystery, but could be a trans girl who hasn’t transitioned. If so, Quan would have similarities with Snapdragon in High Guardian Spice, a trans woman shown prior to transition.

One of the strangest parts of Kizuna no Allele were the post-credit scenes in V-Tuber style, described as “recommended videos”. While some were on topics like drawing, design, food, in-universe trivia, or something else entirely, they pale in comparison to those primarily about Sakura’s outfits in Cardcaptor Sakura and Cardcaptor Sakura: Clear Card.

A later episode features a competition where characters race on hoverboards. In the case of the former, Riz got a lot more airtime. She becomes a stronger character, sharing the lesson that you shouldn’t spread fake news. It appears she has a crush on Miracle, saying Miracle really interests her. The comradeship between Riz, Miracle, and Miracle’s other friends makes the series that much more enjoyable.

Riz, who only wants to get better data and cares little about her rank, served as a vehicle for the story to push Miracle forward by stating that she should think for herself rather than relying on others. Predictably, this causes Miracle to post videos and people accuse her of “copying others”. She gets so much negativity that she even thinks of quitting becoming a V-Tuber!

This anxiety she faces is nowhere near what a high school student, an owner of a popular cat on social media, experienced in the 10th episode of Too Cute Crisis. In the case of that series, she could more effectively deal with her anxiety by not desiring to keep every single picture perfect, drawing from the terrible blurry photographs taken by protagonist Liza Luna of her cat Yozora.

Coming back to Kizuna No Allele, I liked that Miracle’s friends don’t abandon her, but cheered her up. In fact, Riz states that Miracle shouldn’t be dependent on her friends and should walk alongside them instead. This causes Miracle to declare she will express herself the best she can in the virtual world, showing her “true” self. She expresses this even more directly in the series finale, where she embraces the idea of them playing a collab concert so they can qualify for the Virtual Grid Awards (VGA).

Furthermore, this episode not only highlights the clash between Lapin d’Or Ada (who heads the VGAs) and ADEN Academy principal Auris (voiced by Masumi Tazawa), but the value of originality. For one, Lapin is concerned about collaborative concerts, feeling they are copying one another and look all the same. She changes the system so students aren’t rewarded. Many students abandon the idea as a result. The latter impacts the friends of Miracle. They believe that working individually is “better.” This quickly dissipates as each of them realizes their connection to her.

In a powerful end to Kizuna No Allele, Chris, Quan, Noelle, and Riz all sing and dance together with Miracle in a concert as PathTLive. The 3D animation of the concert isn’t terrible. It is more passable than previous 3d V-Tuber videos in the series. The lesson in the episode is that connecting and inspiring others is a good thing. It can even allow people to overcome obstacles, as Miracle and her friend make their way into the top 15 qualifiers for the VGAs. The series ending leaves open the possibility of a second season. Although it appeared to be very unlikely, when I wrote an earlier draft of this review, it was reported that another season will be premiering in October!

On the other hand, the show is not critical, in any way, whatsoever, of the YTuber culture, equivalent to social influencers in the U.S. There are no episodes, like those in the first season of The Proud Family: Louder and Prouder or Moon Girl and Devil Dinosaur. Both focus on the dangers of online trolls and the power of a social media influencer. Instead, the videos have in-universe product placement. There is an advertisement for a bubble drink in one episode and an ad on the reported “value” of e-sports. Getting a high rank in the virtual world is indicated as important.

Such an emphasis reinforces the problematic idea the highly rated/ranked content is “good”. In reality, this cannot be further from the truth. Even if a video has a lot of views, comments, and reactions, this doesn’t mean that it is “good”, as it can be actively harmful. Such content may not be to everyone’s taste either. There can be “hidden gems” which don’t get as much recognition. Although the show implies that Miracle’s videos are awful, she is obsessed with getting a higher ranking, so she can compete in the virtual award competition.

While the series is watchable due to the interactions between Miracle and her friends, the yurish subtext, important of self-love and self-discovery, and sometimes absurd storylines, there are many issues. This includes non-existent criticism of VTubers, social media influencers, and A.I. Subpar music, lack of character development in the protagonist, and other problems are additional problems. Hopefully, a second season would fix these issues.

Kizuna no Allele is currently streaming on Crunchyroll.

Ratings: Animation: 4 Voice Acting: 4 Music: 3 Story: 3

© 2023 Burkely Hermann. All rights reserved.

Oshi no Ko Spoiler-Filled Review

Oshi no Ko, also known as “My Favorite Idol” or “Their Idol’s Children”, is an anime which mixes the supernatural, mystery, idol, and drama genres. Daisuke Hiramaki directs this series, which is based on an 11-volume manga written by Aka Akasaka. This series is produced by Doga Kobo, a studio founded in July 1973. As a warning, this review will discuss suicide, cyberbullying, death, murder, and other related themes.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-fourth article I wrote for Pop Culture Maniacs. This post was originally published on August 9, 2023.

This series is intriguing from the get-go. It follows the life of Gorou Amemiya (voiced by Takeo Ōtsuka). Gorou is a doctor in a remote region and is murdered by a mysterious man. He is reborn as the child named Aquamarine “Aqua” Hoshino (voiced by Yumi Uchiyama) of his beloved Japanese pop idol, Ai Hoshino (voiced by Rie Takahashi). He adapts to this new life. His sister Ruby Hoshino (voiced by Yurie Igoma) is a reincarnated version of his former patient, Sarina Tendōji (voiced by Tomoyo Takayanagi). Their life is challenging. Ai cannot publicly reveal she has children and Aqua meets a child actress, Kana Arima (voiced by Megumi Han), who vows to be his rival. Disaster strikes when the same stalker who killed Gorou and Sarina mortally wounds Ai. This leads Aqua to begin a quest to find his father and kill him in revenge.

The above is only what happens in the first episode! I was drawn to Oshi no Ko in part because it is based on the reality of the Japanese entertainment industry. It is somewhere where are, according to Akasaka, no “union[s] for talent and writers…no guarantees…[and] opportunities…given based on the balance of power between companies.” The idol world is portrayed in a dramatic and dark way. This series shows how the women’s emotions and labor are so commodified that they internalize it. In addition, this series makes clear how the idol industry exploits those in vulnerable situations.

This stands in contrast to the many idolish anime out there, whether Kizuna no Allele, and those which have aired in previous years, such as If My Favorite Pop Idol Made It to the Budokan, Shine Post, Cue!, 22/7, BanG Dream!, Macross Delta, and Macross Frontier. Also, this is the case for the idolish D4DJ and Alice Gear Aegis Expansion, and the multiple series in the Love Live! franchise.

Oshi no Ko is one of the only series which focuses on the dark side (and reality) of being an idol. Another example is Heroines Run the Show. In that romantic idolish series, the protagonists must deal with rabid fans, rumors, violations of privacy, being marketed and commercialized, and harsh working conditions. This is also the case for Hiyori Suzumi, a first-year student who comes to a Tokyo school for track-and-field, who helps the idols as an apprentice manager.

The second episode of Oshi no Ko brings all these themes to the fore. Ruby attempts to join a huge idol group. Her brother, Aqua, tries to dissuade her, telling her about the disrespect, low pay, and violation of privacy for those within the industry. In a strange effort to “protect” his sister, Aqua engineers something. He works with the director he is working under, Takashi, so it appears that she is “rejected” from the talent pool. At the episode’s end, Miyako, the mother-of-sorts of Aqua and Ruby, re-opens the idol department of Strawberry Productions, becoming their manager.

By the second episode’s end, it seemed that the story focused more on Aqua than Ruby, despite Ruby, Miyako, and Kana as important characters. There should be equal weight to both of their stories. This changes in later episodes. Kana becomes more involved in the life of Aqua, even following him to Takashi’s apartment. At one point, she reveals to him that she is holding back her acting so that she doesn’t outshine others.

The attempts of Aqua to learn more about the lives of his mother, leads him down a strange path. He joins the cast of a hastily produced reality dating show, My Love with a Star Begins Now. It is directed by Masaya Kaburagi (voiced by Masaki Terasoma). He does a paternity test and discovers Kburagi is not related to Ai whatsoever. All the while, the series makes clear its social commentary. Storyboarders are shown sleeping on the floor to get their work done. Popular actors are brought on the dating show to gain viewers. Manga artists note their disappointment at adaptations of their work.

This all becomes intertwined. Aqua invites Kana to be part of Strawberry Productions. His sister Ruby sees idol potential in her. There are romantic vibes between Aqua and Kana. Also, Ruby and Kana are drawn close together due to their roles in the same company. Their idol group takes the name of B Komichi. It is the same name of the group headed Ai before her tragic death. Unlike other series, the close relationship between Ruby and Kana doesn’t seem to be romantic.

By the show’s sixth episode, female characters have a much bigger role. For instance, Kana and Ruby are closer together. The former tells the latter about egosurfing and how fans and content they consume is in a “state of mutual surveillance”. She further argues that people in showbusiness are the content. She even admits that she holds her tongue so that she doesn’t create flame wars online about certain topics. The friendship between Kana and Ruby is one of the best parts of this series.

Women on the reality dating show, such as Akane Kurokawa (voiced by Manaka Iwami), get ample screentime. In the latter case, she claims she is vegetarian so that she won’t eat meat. It appears to be a ruse to get to her the “correct” weight and shape, and takes notes on what do for the show. This comes to a head in the sixth episode, when Akane ends up attacking another actress, Yuki, for not standing out.

Following this, they hug it out, and everything seems solved. Online fans take issue with the scene, causing a firestorm of criticism, even after Akane apologizes. The toxicity of the internet echo machine is clearly shown. Akane becomes terrified, with people even angry at her at school. She makes this worse for herself when she reads negative comments and begins spiraling. This reaches such a fever pitch that she attempts suicide. She is only saved, at the last second, by Aqua.

This episode resulted in controversy. Fans were reportedly shocked. Kyoko Kimura, mother of Hana Kimura, a Japanese pro wrestler, who recently died from suicide, also criticized the series. She said she didn’t approve of the anime’s writers using Kyoko’s death as “free source material.” She argued there wasn’t proper consideration before the series release. Later, she claimed the series causes cyberbullying victims to suffer, while acknowledging the series “raises important issues”.

The criticism by Kyoko Kimura, and others, makes perfect sense. The episode seems to have parallels to the case of Hana Kimura. That it may be triggering to some people, especially when it comes to cyberbullying. The manga’s chapters were planned prior to Kimura’s passing. The creators could not control when the series was released. The manga‘s author, Aka Akasaka, said he wanted people to know how young talent is being “hurt, exploited, and suffering”. He added that he focused on the reality of the Japanese entertainment industry. His words fit with the anime’s criticism of toxic fandoms and fans.

The Oshi no Ko staff should have reached out to her before the series aired and could have handled this with more care. The episode shows how young people can be pushed to the brink. Suicides have been on the rise, especially among Japanese women, and declining among Japanese men. Over 20,000 in Japan end their lives every year, often due to economic hardships, a number which increased due to the coronavirus pandemic. In comparison, over 40,000 Americans take their lives each year, with a total of 800,000 between the years of 2000 and 2020, with men representing over 78% of the victims.

This series is not unique in focusing on this theme. In the ever-controversial and ridiculed gen:LOCK, all the protagonists give up their lives in “ascension” to become swarms of nano-particles known as the Flow. More recently, in Volume 9 of RWBY, the subject is treated more respectfully. One of the protagonists, Ruby Rose, either engaged in a suicide attempt, or ended her life. It appears to be the former rather than the latter.

Coming back to Oshi no Ko, the seventh episode caps this “dark chapter” for Akane. It makes clear that someone’s mental state can push them toward suicide. Kana admits to Ruby, in the same episode, that she even thinks of ending her life some days! Ruby observes that lying is the best way to protect yourself. In her view, every day people are bullied online in the “name of justice and freedom of expression”. Following her rescue, Akane’s mother and fellow cast members embrace her. This proves that she is not alone and has a support network to support her. There is a slight criticism of the police. A police officer asks Akane if she is ok after she is saved by Aqua, but not before.

The same episode shows that Aqua cares about Akane. While it appears weird that he reveals that Akane attempted suicide, he also pushes to release footage taken by the production staff of the scene between Akane and Yuki, showing the reality of the situation: that the staff selectively manipulated the scene. This means the reality dating show is rotten at the core. Aqua’s actions, in coordination with the rest of the crew, change the image of Akane online, solidify her popularity, and cause criticism of her to disappear.

Not everything is that simple in Oshi no Ko. Aqua admits that the only girl he likes is Ai to the other cast members. This solidifies the determination of Akane to become Ai. She even goes to the National Citze Library, learning more about her, and embodies her. This, predictably, surprises, and terrifies Aqua, as he senses that she has Ai’s spirit within her.

There is more than a popular opening song, an incredible debut, and amazing art in the manga (which the anime is based on). In the eighth episode shows the protagonists, Akane, and others, have important character development. Akane gives off a charisma and magnetism which draws people to her. In fact, Aqua even reveals his true colors when he will only listen to Akane, and not to what others are saying. Like Aqua, Ruby sees the spirit of Ai within Akane.

Jealousy comes to the forefront. Kana is angry at Aqua for getting close to other female cast members on the reality dating show. She is caught off guard when they both skip school. They play a game of catch in the park. On some level, Aqua probably has feelings for Kana. He tells her that he has crushes on all girls his age, but prefers older girls. Later, Kana calls for him to “drop dead” and calls him “big jerk” for kissing Akane on the reality dating show. She wants him to kiss her instead.

The eighth episode of Oshi no Ko predicts what will happen in the future: the “boundary” between his former self, and Aqua, will vanish. As such, he will become one person and his former memories may fade. In fact, he states that his mind is suiting his body and environment, with his thinking influenced by his physical development.

Aqua sees Akane as someone he can use, declaring that she knows more about the personality of Ai than him, even though Ai was his mom. He even agrees to let them be “dating” on paper, until they decide to amicably end it. This is expanded upon in the season one finale. Aqua often uses people for his own ends, which fits with who his character is, but also justifies his manipulation and almost makes it seem acceptable. It is disturbing, especially since such manipulation was criticized in Tokyo Mew Mew New. It aired at the same time as this series. That series featured a character who engages in multiple creepy romantic advances toward the protagonist.

Through it all, Aqua learns more about his mom from Masaya Kaburagi, who says that the entertainment industry is a place for bluffing and lies. He notes that Ai began as a “country bumpkin fresh out of the sticks”, lacked professionalism, and would show up to work in cheap clothes. He implies that Ai fell in love while at a certain theater company and got the face of a “grown woman” as a result. Like the rest of the series, there is a criticism of the Japanese entertainment industry as a “place of creating and calling in obligations” between agencies and production, which plays a “big role in casting”.

The ninth episode is one of the best episodes of Oshi no Ko. Aqua pushes the idol department in Strawberry Productions to new heights. He invites Mem (voiced by Rumi Okubo), a cast member from the reality sating show and a well-known YouTuber, to join. In a possible commentary on fudgery in the Japanese entertainment industry, Meme admits she is not honest about her age. She had been saying she is seven years younger than her actual age! Her honesty leads Kana and Ruby to sympathize with her. In a likely incorrect observation, Ruby believes that this shows Aqua’s preference in women.

The formation of the B Komichi idol group in the ninth episode, with planning for a music video and choreography for dances, is the beginning of further comments on the idol industry. Before this point, the series had only been idolish. After this episode, it becomes more of an idol anime. Kana, for her part, thinks she can’t be as good of an idol as Mem and Ruby. She even believes that she can’t head the group, or be “the center,” and is “bad” at singing. The latter is a lie.

The same episode of Oshi no Ko raises the possibility that Masaya will have a bigger role in the future. He is taking the long game of making an alliance with Aqua, to giving him a leg up in future battles over casting, and sees potential in Mem and Kana. He even believes that B Komichi is a promising investment. This comes to fruition in the 10th episode. Aqua dresses up as Pieyon to inspire the members of B Komichi. He talks to Kana. She is worried about being the group’s center.

I found the 10th and 11th episodes to be the strongest because they focused on female characters like Kana, Mem, and Ruby, rather than Aqua. Aqua is a creepy and disturbing character, who is not very relatable. He manipulates others to achieve his goal of finding out more about his birth father, who paid off someone else to kill his mother. This isn’t the case for the female characters. Maybe Aqua is despicable on purpose.

I liked the focus on Kana and her internal struggle. She worries that everyone sees a former child actor, rather than an idol. Ruby reminds Kana that they are rookie idols, will fall down and fail sometimes, but that this is okay. Ruby relates to Kana even more than Mem, noting how she was once as an idol otaku and that Aqua’s previous incarnation was her first love. The latter is a strange and cringeworthy. Such incestual romantic love is deeply problematic.

The 10th episode of Oshi no Ko continues the commentary about the Japanese idol industry. Their manager, Miyako, words ring true. In the next scene, the underground idol groups are shown to be treated terribly: they are crammed into one room. More well-known idols get their own changing rooms.

Kana’s insecurity on the Star Stage, performing with Mem and Ruby, is front and center. Many audience members have yellow or red glowsticks, representing fans of Mem or Ruby. She sees no one with white glowsticks, representing her fans. Aqua comes to save the day. He waves yellow, red, and white glowsticks at the same time. This inspires her to outshine Mem and Ruby on stage.

The season one finale of Oshi no Ko makes the romantic feelings between Kana and Aqua clear. He claims he only dressed up as Pieyon to ensure their performance was a success, but hints at romantic feelings. Ruby notes that when he is with Kana, he is like his “old self”. Their connection is further buttressed by Aqua admitting to his manager/mom-of-sorts, Miyako, that he only has a “work relationship” with Akane. Mem realizes this means that Kana has feelings for Aqua.

The conflict for the next season is set in motion. Aqua, Kana, and Akane are cast in a stage adaptation of the Tokyo Blade. All three are in a love triangle. Kana and Akane have a long-standing rivalry. Akane feels that Kana took away “her” parts. Aqua sees the play as a way to learn more about his birth father. The Lala Lai theater company, where his mother Ai got her start, is putting on the production. He declares that he will find his father, who works in the entertainment industry. It is not known if he would kill his father after he found him.

A love triangle in Oshi no Ko isn’t surprising. Aka Akasaka, the manga’s author, also wrote Kaguka-Sama: Love is War manga. He has written other manga, such as Sayonara Piano Sonata, Ib: Instant Bullet, and Ren’ai Daikō, since 2011. None of those have anime adaptations. Kaguka-Sama had no love triangles, from what I remember. That series focuses on a wealthy girl (Kaguya Shinomiya) trying to confess her love for the school’s student council present (Miyuki Shirogane). Then they try to figure out how to advance their relationship following their romantic confessions.

Oshi no Ko has dark, mature, and depressing themes. As such, I would not rewatch it. Even so, it has value in terms of its social commentary on the Japan’s entertainment industry, especially related to idols. On the other hand, it does not represent idol anime.

The series is idolish. It becomes more of an idol anime as it moves forward. However, it does not criticize or mimic any of the tropes in idol anime. It is more about the exploitation that those who work in the industry endure rather than subverting tropes in other anime. Some online fans don’t realize the latter and think this series “defines” idol anime. Nothing could be further from the truth. I can understand why some people don’t want to watch this series and can’t blame them, as the series is a lot to take in.

I was familiar with some of the voice actors. Rie Takahashi is known for voicing Aileen Lauren Dautriche in I’m the Villainess, So I’m Taming the Final Boss, Megumin in KonoSuba, Ena Saitō in Laid Back Camp, and Takagi-san in Teasing Master Takagi-san. The same is the case for Yumi Uchiyama. She voiced Shino Natsume in Ippon Again!. Kent Itō voices Hirotaka Nifuji in the enjoyable romantic comedy, Wotakoi: Love is Hard for Otaku.

I recognized Lynn as the voice of Karin Kudaka in The Aquatope on White Sand, Sanya in Kuma Kuma Kuma Bear, and Shirara Tsubaki in My Master Has No Tail. Manaka Iwami had previously lent her voice to Christina in Love Live! Nijigasaki High School Idol Club, Euphyilla Magenta in The Magical Revolution of the Reincarnated Princess and the Genius Young Lady, and Millie in Spy x Family. She will also voice Sakuna Memoir in The Vexations of a Shut-In Vampire Princess. Megumi Han voiced Penny Polendina in RWBY: Ice Queendom and Momo in Vampire in the Garden. Tomoyo Takayanagi previously voiced Mikan Hinatsuki in The Demon Girl Next Door. I wasn’t familiar with Takeo Ōtsuka, Yurie Igoma, Rumi Okubo, and the many other voice actors for this series.

Although Akasaka has stated that he will no longer draw manga, and will only write instead, considering the manga has 11 volumes at present, there is a lot of material to pull from. As a person who often watches anime which are 12 or 13 episodes, or Western animated series which are even longer, the first season seemed short. It could have been longer.

As I noted in my Otaku Elf review, summarizing an article in Anime News Network, companies often try to limit corporate risk by planning for each season to have between 11 and 13 episodes, but if a show is successful, there can be additional seasons. This happened with Birdie Wing and it is the case for Oshi no Ko.

The latter is no surprise as each one had a lot of fan interest. I hope that the second season is even stronger than the first one, with more character development and focus on the female characters instead of the male ones. If the series moves toward an incestual relationship between Aqua and Ruby, as is reportedly in the manga, that will ruin the entire series. Hopefully, the writers know better than to incorporate that into a second season/cour.

Oshi no Ko is currently streaming on HIDIVE.

[Ratings: Animation: 5 Voice Acting: 5 Music: 5 Story: 3]

© 2023 Burkely Hermann. All rights reserved.

Kizazi Moto: Generation Fire Spoiler-Filled Review

Kizazi Moto: Generation Fire, known as Kizazi Moto for short, is an Africanfuturist animated film anthology series. It is the second animated series produced by a South African animation studio, Triggerfish. It follows Kiya and the Kimoja Heroes, which premiered on Disney+ earlier this year. Peter Ramsey is the executive producer. Tendayi Nyeke and Anthony Silverston join him as supervising producers. Shofela Coker, Raymond Malinga, and Ahmed Teilab developed the series. As a warning, this review will discuss death, blood, suicide, and other related themes. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, Kizazi Moto, being reviewed here, wouldn’t exist.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-third article I wrote for Pop Culture Maniacs. This post was originally published on August 6, 2023.

Unlike some other series, Kizazi Moto is a bit hard to describe. While each of the ten short films within this series clearly has an African perspective, told by one or more directors, the themes of each episode can be vastly different. The music, animation style, writing, and everything else can also differ. Sometimes, it feels like the sinew holding the series together is not as strong as it could be. Even so, each film stands on its own, with many providing a possible starting point for future animated series.

To understand where the series stands, it is important to have some background about the genre. This series is outwardly Africanfuturist. In the reporting, before the series released, some media outlets incorrectly described it as “Afrofuturist.” These two genres are not the same. Afrofuturism, which is well-known as a genre, explores intersection of science and technology with the African diaspora, addressing concerns and themes of that diaspora. The term was coined in 1993 by White male cultural critic Mark Dery. This has led some to use broader terms like “Black science fiction” and “Black speculative fiction” or embrace the term “Africanfuturism”.

Africanfuturism centers on fusion of African mythology, history, culture, technology, and point of view, within Africa itself. Nigerian-American writer Nnedi Okorafor coined the term in 2019. She described it as a sci-fi sub-category deeply rooted in “African culture, history, mythology and point-of-view” which does not center or privilege Western countries, while retaining optimistic future visions. It is also, in her description, written and centered on people who are of African descent, and rooted in Africa. As such, it can also include the African diaspora.

While there has been more Africanfuturist literature, and comics, in recent years, there are very few films. One such film put in the genre (by some) is Black Panther. Others have included Pumzi and Ratnik, along with Okorafor‘s Binti and Who Fears Death, which are getting live-action series adaptations. Even so, there are no currently ongoing Africanfuturist series. As such, Kizazi Moto may prove vital to the possibility of future series in the genre. It will only join the ranks of series in development, like Iwájú, created by a Pan-African British company, Kugali Media, in collaboration with Walt Disney Animation Studios.

As such, Kizazi Moto differs from My Dad the Bounty Hunter, the upcoming Dantai (produced by Idris Elba and Sabrina Dhowre). The still-in-production Iyanu: Child of Wonder (releasing in 2024) may include some Afrofuturist, or Africanfuturist, elements. More common examples of Afrofuturism include music of R&B/pop/funk/hip hop/soul musician Janelle Monáe and R&B/soul/hip hop musician Erykah Badu.

The first episode/film of this series, “Herderboy,” features artful, colorful, and amazing animation. It is coupled with impactful voice acting and fitting music. The story of a wanna-be hero, Ndahura (voiced by Koona Blair Matthias “Wonders”), is typical. Some characters are speaking Yoruba (voiced by people in Benin, Nigeria, and Togo). The beast, a Nyamiyonga (voiced by Jon Olson), feeds off negative energy. Both are unique. It is unlike any other series I’ve seen. There aren’t any simple naming conventions, like the original world of the Diamonds in Steven Universe called “Homeworld,” rather than something more creative. The herding of cattle to gain crystals, known as chwezinite, to power their society shows the sci-fi nature of the episode. What really caps off this episode are the amazing action sequences and compelling characters.

The episode/film is directed, and written, by Raymond Malinga. Mpho Osei-Tutu does other writing. I was unfamiliar with any of the voice actors, either Florence Kasumba (voiced Ndahura’s sister, Captain Katono), Idringi Patrick “Salvado” (voice of somewhat technology adverse Dushiime), or Omara Daniel (voiced of robot Isingoma).

The second episode/film of Kizazi Moto, “Mkhuzi: The Spirit Racer,” is unlike the first. It focuses on racing. The episode/film is set in a futuristic city where some speak Zulu. The racing scenes are fluid. They fit with characters jumping across the screen, garnering the viewer’s attention. Unlike the first episode/film, this episode/film focuses on the importance of family, culture (being Zulu), and ancestry. The themes of displacement, gentrification, and togetherness are key. The neighborhood where Manzo (voiced by Nasty C) and his mother Manomi (voiced by Carol Ofori) live, is almost demolished by Ogun (voiced by Hakeem Kae-Kazim). He is an intergalactic racing overlord. Manzo only saves it when he takes on his mother’s garb as Mkhuzi and becomes all-parts Zulu.

The episode/film had nice upbeat rock music and well-done animation. It has none of the same directors and writers as the first one. Malcolm Wope directed and created it. Simangaliso “Panda” Sibaya was a fellow director. Leslie Pulsfier wrote the episode. Apart from the aforementioned voice actors, I was unfamiliar with Sandi Dlangalala, who voices racer Cosmizi. In some ways, this episode reminded me of Birdie Wing, but that anime is more wild with golf-obsessed Mafia, even more than The Phantom Menace, which has a well-known pod racing scene, or similar scenes in Star Wars Resistance.

When it comes to writers, each episode/film had distinct individuals. The animation and writing weren’t done in the United States. As such, their studios aren’t mentioned on a recently-circulated spreadsheet noting conditions within animation studios. However, their labor and economic conditions are worth noting. The entertainment industry remains highly profitable. Disney, brought in over $55 billion to the company’s Media and Entertainment Distribution division in 2022 alone. They can clearly pay writers, and actors, what they deserve, and fulfill their demands in the recent strikes. It should be no issue for them at all.

The third episode/film of Kizazi Moto, “Moremi,” took a quite different tact than the others, making it stand out. In part, this was because it had moderate violence. It artfully combined mystical magical, and sci-fi themes all in one. Like the first episode/film, the Yoruba language is spoken. In some ways, this episode reminded me of the episode in the far-too-short animeseque Yasuke in which the samurai, Yasuke, travels upstream with Saki. A fundamental difference between that series, focused on the Black experience, is that this episode has character development, depth, and no tonal shifts.

This episode/film focuses on the frailty of the human condition, family togetherness, and the value of one’s soul. The protagonist Luo (voiced by Tolowanimi Olaoye), who must recharge himself every day to keep his heart functioning, learns a story from Moremi, the woman who saves him from soul-eating monsters. Moremi (voiced by Kehinde Bankole) tells him that in the past, the land of Ife was filled with the aforementioned monsters from another realm. She adds that woman built a machine which closed the inter-dimensional gateway between worlds. Of course, even though this woman made an oath to the Gods, she vowed to save her child by any means necessary, even if the monsters returned.

This Kizazi Moto episode/film has a touching ending, with Luo merging his life force with the child, Olu. As a result, the monsters depart, and Moremi, the woman from the story, finally can reunite with her child. I can’t even think of a series in which a character gives up their soul to save another person. Rapunzel in Rapunzel’s Tangled Adventure nor Steven Universe in the series of the same name has done anything like Luo. The only equivalent I can think of is what happens in the original Tokyo Mew Mew manga and the early 2000s anime. Masaya Aoyama uses the Mew Aqua inside of him to not only sacrifices his own life, but that of villainous Deep Blue. This does not happen in the reboot series, which has more of a “happy ending” than in the original series (or manga).

I wasn’t familiar with the episode’s director, Shofela Coker, co-writer, Vanessa Kanu, or co-director, Andrew McNally. Coker even voices a character (Malimbe) in this episode/film. Coker is known for his animation and video game work and for feature films like Liyana. Kanu is a new screenwriter. She is a staff writer on Supa Team 4, reportedly the “first original African animated series” on Netflix. McNally is co-creator of Isaura, a South African animated film in development. It focuses on climate change and environmental conservation, and centers on Mozambique. The same company that made that film, Studio Lucan, also did the work on this episode. The episode/film, it is inspired by the real mythological story of Yoruba hero Queen Moremi/Moremi Ajasoro of Ife.

The fourth episode/film of Kizazi Moto, “Surf Sangoma”, goes in another direction. It’s about surfing and finding yourself. It begins in a dark place. The grandmother of the protagonist, Njabulo, is pulled under water by squids. This mortifies her grandson, who tries in vain to save her, but fails. Then, there is a flash forward to the present, where Njabulo is a surfing coach, and he talks to his friend, Mnqobi. In an almost ominous tone, an announcement declares that surfing beyond the wall, which protects the city, is illegal and deadly. Even the high water is said to have caused civil unrest. In a scene, which reminds me of the bike chases in the often-forgotten Tron: Uprising, Mnqobi and Njabulo race one another and find a spot which gets them “over the wall”.

This is where the episode becomes horror-like. Locals talk to Njabulo (voiced by Mandisa Nduna) and Mnqobi (Omiga Mncube), declaring that they either must surf or leave. Although Njabulo refuses to take part, with his grandmother’s voice telling him to avoid the water, Mnqobi obliges. All of them have squids, from the water, attached to their heads. This is even worse than the brain slug in Futurama. It’s more like the insidious brain worms in two episodes of Star Wars: The Clone Wars. To make matters worse, Mnqobi joins the local surfers and they beat up Njabulo, stealing his board, the last thing he has left of his grandmother.

With an undoubted lesson that people should confront their fears, the voice of Njabulo’s grandmother tells him to return to the water. Although the local surfers taunt him, he continues onward. His grandmother saves him from the ravenous squid. She is now part of the ocean. One of the best animated sequences in the episode follows. Njabulo is chased by other surfers, with the music and pace fitting the action. In the end, he is able to rescue his friend.

Perhaps to indicate the world’s cruelty, the surfer with malintent, Mlindos (voiced by Carlos Fonseca Mokgata), is brutally killed/subsumed by the squid. Although Njabulu and Mnqobi survive, a final scene, which shows a squid, in the water near the former city, roaring, implies a possible continuation. It also indicates that the city may be under direct threat.

This Kizazi Moto episode/film must be one of my favorites. Not only do some of the characters talk in Zulu, but the animation is smooth, colorful, and unique, having its own flair. On the other hand, it is a bit like a horror film. It is, perhaps, the scariest of the lot, and it took some time to come around to it since I’m not a big fan of the horror genre, with some exceptions. I wasn’t aware of any of the directors (Catherine Green, Nthato Mokgata, and Graham Gallagher), nor the creators (Nthato Mokgata and Terence Neale) or the writers (Nthato Mokgata, Catherine Green, and Phumlani Pikoli).

Similarly, I hadn’t heard of Sabelo Gumede (who voices Mlindos’ associate, Nsimbi), Tyson Ngubeni (who voices Mlindos’ associate, Joko), or Krofaa Sani Sekyiamah (who voices a little surfer girl/Njabulo’s student at beginning of the episode). Mokgata is part of a South African visual art duo and musician otherwise known as Spoek Mathambo. He has a distinctly and “socially-engaged” Africanfuturist perspective. Neale is known for music videos.

The other six episodes/films continue the show’s “unique African perspective” and play to a big audience. This series may be a breakthrough for the animation industry in Africa. Disney has under-promoted this series, without question. This leaves it up to the individual creators to do the promotion on their own. Triggerfish, the animation studio primarily behind the series, was praised on Glassdoor. Comments described it as extremely organized, having a great company culture, inspirational, great upward mobility, and high-quality animation. The same comments criticized it for a messy production pipeline, low job retention, and low pay.

I was intrigued when I saw the title of “First Totem Problems,” the fifth episode/film of Kizazi Moto. The colorful animated scenery and cheerful music pulled me in, as were the struggles of the protagonist. Sheba (voiced by Rene Setlhako) cannot get on a train because it doesn’t identify her as an adult. Later, she attends a ceremony to get a totem, so she can become an adult. By accident, she ends up in a dimension where her ancestors are living, akin to the spirit world in Elena of Avalor.

She is determined to get a totem. She enters the totem printing room with that goal. Her ancestors tell her that a totem is connected to your community and can’t be manufactured. This doesn’t faze her. She makes her own totem and is verified as an adult; despite the damage her actions may have caused within the spirit world.

Honestly, this episode/film was the least favorite one. The message appears to be that someone’s determination and smugness will help you achieve your goals. Not sure that is a good lesson. The episode could have done something like Hilda, where her arrogance causes her trouble and issues with others. I hadn’t heard of the episode’s writer/director, Tshepo Moche, nor Maame Boateng and Khadidiatou Diouf, who provided additional writing. The same went for the voice actors, like Tumi Morake, Lillian Dube, Rampepe Mohohlo, and Sne Dladla who voiced Momzo, Mimi, Malume, and Wewe respectfully.

My disappointment from the fifth episode/film of Kizazi Moto faded away when I watched “Mukudzei”. This episode/film not only criticizes online culture and obsession with likes as hollow, but it has the lesson that togetherness and cooperation are more important than individuality. Muku (voiced by Pious Nyenyewa) realizes this firsthand, while he is spray painting the ruins. He is transported, due to a timeline glitch, to a future parallel universe, Muchadenga. In this universe, Great Zimbabwe was never colonized. A fellow scavenger named Rumbie (voiced by Genesis “Gigi Lamayne” Manney) saves him. Rumbie tells him this society has all sorts of technology and the most sophisticated justice system in the multiverse. A monster bird chases them and there is an intense, and well-animated, chase through a tunnel.

The biggest twist is not that Muku realizes he messed up or that Rumbie is also from the past, and saw her brother die in the ruins. It is the fact that the bird is trying to help them get back to the past! The bird even assists them in keeping open the portal so they can return to the present, where Rumbie meets her mother (voiced by Fungai Muzoroza), once again. Muku realizes that being #1 as a social media influencer doesn’t matter. Rather, talking to his dad is more important. Preserving one’s culture and history is another important theme.

Like the other episodes/films, I hadn’t heard of the directors (Tafadzwa Hove and Pious Nyenyewa). While Hove was the writer, Nyenyewa also was the episode’s creator and voice of Muku, one of the protagonists, as noted earlier. Hove describes himself as a “filmmaker”. Nyenyewa is a Zimbabwean who leads the studio, Alula Animation. Manney is a South African rapper known as Gigi Lamayne. This series is the voice acting debut of her and Muzoroza.

The seventh episode/film of Kizazi Moto, “Hatima,” was one of the strongest. And I’m not only saying that because I enjoy reading stories about merpeople like Mermaid Huntress (formerly named Ice Massacre), Mora in Disenchantment, Coral in High Guardian Spice, or Lettuce in Tokyo Mew Mew New (who can sometimes be a mermaid). The fact that this took place in an underwater society makes me think of the underwater battles in Star Wars: Clone Wars, the secret society of Atlantis in the 2000s Disney films (Atlantis: The Lost Empire and Atlantis: Milo’s Return), the Gungan society in Star Wars, or the oft-appearing Atlanteans in Justice League, Justice League Unlimited, Young Justice, and other properties.

“Hatima” has common themes like a father’s death at the hands of an enemy. Being deemed unworthy to be a warrior, with someone holding you back from your potential is not a new concept. I liked that Mati (voiced by Nkosinathi Mazwai) is headstrong. He won’t listen to the reasoning of his brother, Sana (voiced by Tshepo Howza Mosese). Sana doesn’t understand Mati’s anger, or wants to use a “weapon of war”, the Hatima. In fact, he declares that the Hatima are only used by the “air-breathers” (i.e., the humans) and that they don’t use them. The backstory begins almost innocently. Nhela (voiced by Mo Mjamba) works in her makeshift lab. Her sister, Alani (voiced by Tumela Candice Modiselle) helps her. She learns that sodium chloride causes the Hatima cells to grow instead of destroying them.

It predictably goes south. Their actions incur the disappointment of King of their society, and their father (voiced by Herald Khumalo). He takes away the Hatima. After Nhela mocks his decrees, Alani refuses to work with her. In a possible allusion to chronic illness, Nhela, who is near death, and coughing up blood, submerges herself in the Hatima. She has changed. But no one will accept her, even after her pleas that this substance can cure all sickness.

The worst betrayal is that Alani says they can “fix” and return her to normal, which is ludicrous. Does she want her sister to almost die, again? Unsurprisingly, she leaves the society, feeling shunned by everyone. This connects Mati and the battle underwater. This whole story is in a memory orb, which reveals this backstory. It causes him to embrace his “enemy,” Ntsako (voiced by Lebo Mochudi), and realize they are all related. In some ways, this resolution makes me think of the sirenas in Elena of Avalor, likely referring to the mythologic creature in Filipino culture, which is like a mermaid.

I was familiar with themes of acceptance, the “other,” ancestry, and family. Even so, I hadn’t come across a series where characters speak Afrikaans, a West Germanic language which evolved in the Dutch Cape Colony used by German, French, Dutch settlers, and those they enslaved. Due to this history, it makes sense that the “oppressors” are speaking this language. I can easily sympathize with what Mati and Nhela are going through, on some level.

This episode/video has extreme potential to become a full animated series. Whether Terence Maluleke and Isaac Mogajane, who were the directors, with Maluleke as creator and Mogajane as writer, want to pursue a longer series, I’m not sure. Tatenda Mbudzi was also on the crew, helping with dialogue. I hadn’t heard of Sekoati Tsubane (who voices Mati’s father) or Kgomotso Kekana (who voices Young Mati), who are voice actors in this series. Maluleke is a digital artist, while Mogajane is director and writer.

The last three episodes/films of Kizazi Moto are unique, but also connect to others. The eighth episode “Stardust”, is all about discrimination, realizing who you want to be, and your “destiny” mixed with magic, amazing 3-D animation, and well-fitting music. The protagonist, Nawara (voiced by May Elghety), wants to escape her hard life, and sees the Oracle as the answer. Despite the Oracle’s guard saying that her “kind” isn’t allowed, the Oracle (voiced by Laith Nakli) gives her a scroll. He says that it has what she deserves. When she learns there is nothing inside the scroll, she is enraged. She declares she will “take” her destiny by herself.

Not everyone likes the Oracle. He is the enemy of the Pallids. They want a magical star from him, even destroying his droid protector. Later, Nawara escapes with some scrolls. Even so, she feels bad after the Oracle is captured. She becomes friends with Riphi, the oxen-like beast who is the Oracle’s animal companion. She goes on a typical hero’s journey to the observatory. In a powerful scene, the Pallid boss (voiced by Mo Ismail) tells Nawara that she shouldn’t waste her pride and ambition because people like her don’t get to choose their destiny. Of course, she can’t accept this. She fights alongside the Oracle and the Pallids are defeated. Comically, they are thrown out of the observatory.

The end of this episode/film implies that Nawara may stay with the Oracle, as she says that she wants to be “nothing, but this”. The camaraderie between Nawara and the Oracle is one of the best parts of the episode/film. The same can be said for the voice acting by Elghety, Nakli, Ismail, Amir Hedayah, Rami El Ashram, and Nayra El Sheikh. The latter three voice the droid announcer, a Pallid man, and Pallid woman. Ahmed Teilab wrote and directed this episode/film. Kenyas screenwriter Voline Ogutu does additional writing. Their talents make “Stardust” that much more impactful.

The ninth episode/film of Kizazi Moto, “You Give Me Heart” shares some similarities with the previously mentioned episode/film, “Mukudzei”. However, this episode/film, more than any of the others, criticizes the absurdity of online value. The protagonist, Sundiata “Sundi” (voiced by Sechaba Ramphele), has only two followers. This differs from Phefo and Moepi, voiced by Mhlangabezi Richard Mashiya and Lesego Vorster. He joins a show in which contestants are from a version of Earth called Oro Kotoko. Winners enter the land of the Gods, called Hodimo, and become the new God of creativity. To do so, they must convince Maadi, goddess of plenty, to favor them. If the judges are displeased, then a contestant can be rejected.

Luckily for Sundi, he ascends. The announcer, Tsbinki (Mukovhe Monyai), has it out for him, because Sundi embarrassed him by turning him into a clay hummingbird during the contest. Maadi is willing to help him. While he is happy for her help, he never gets close to the follower count he needs to truly ascend: one million followers. He admits to her that it is hard to get people to like you. When he sees the true form of Maadi (voiced by Pearl Thusi), he films her, and causes him to reach his goal.

This is at a cost. He embarrasses her. It results in her losing so many followers that her goddess status disappears. In the final part of the episode, he strikes back. Everything falls apart, with the help of Maadi, with each of the gods losing their forms, and the system overloads. Maadi and Sundi hold hands and tell the program, Jojoba (voiced by Simba Mudereri) to “delete” it all. They appear to die happy while this horrifying place disappears from existence.

“You Give Me Heart” was one of my favorite Kizazi Moto episodes/films. I thought the imagery of the Gods working in cubicles is apt. I’ve always thought that if a higher power was even possible (which it isn’t), there would be a massive bureaucracy to manage everything. This is almost never depicted in fiction. I liked Tsbinki’s character, to an extent, as she is very energetic and emphatic. Some of the designs reminded me of Gem fusions like Sunstone, Sugilite, and Sunstone in Steven Universe. The director/creator, Lesego Vorster, and writer, Nonzi Bogatsu, were both new names to me.

The final film/episode of Kizazi Moto, “Enkai”, shares themes with “Hatima”. The mother Goddess, Shiro, has fun with her child, Enkai. Both speak Swahili together. Despite this warmth, she insists that Enkai isn’t ready to create new life, and is not ready to come with her to Earth. Understandably, Enkai worries about her mother. She is excited when she makes her first being. Curiously, she travels to Earth and walks through a slum in Kirinyaga Mega City. People there are rapping that the Euro-Kenya Corporation is exploiting a mountain. Her mom, who is trying to put out fires made by the corporation’s robots, saves her, just in time.

Shiro’s belief that the corporation won’t destroy the sacred mountain is proven wrong. The corporate greed, of the humans, almost kills her. Not all hope is lost. Enkai (voiced by Stycie Waweru) creates a whole new world, using items from Earth over years and years, called Thayari. She tells her mom that humans can only save themselves now. She adds that isn’t her mom’s responsibility anymore, and heals her mother (voiced by Sheila Munyiva). In the final sequence of this episode/film, they both dance in this new world happily.

While the Earth is “left to die”, Shiro did as much as she could. She almost died trying to protect Earth. This episode/film has the implication that humans have no one to look up to but themselves. In some ways, this is an atheist theme. This contrasts with many of the other episodes/films, which have almost religious, or religious themes. I wasn’t familiar with the voice actresses for Enkai or Shiro, nor those for Awa (Kate Harbor) or Makanga (Varees Marko Lukyamuzzi). The director/writer, Ng’engo Mukii, was also new. She is a film director and Tufts University professor.

I have further thoughts on Kizazi Moto before I end this review. The series was promoted badly. I only remembered it all thanks to some savvy users on social media. As such, the promotional campaign could have been better. Secondly, having all ten episodes/films drop one day is a recipe for having them disappear altogether, with people forgetting about them. The release of the episodes/films should have been spaced out along 10 weeks, or five weeks at minimum.

This series is unlike any other series I’ve seen, in part because it is an anthology. Each episode/film doesn’t necessarily connect to the previous one. Even so, they all show the brilliance of African animation industry, whether through the writing, animation, or dialogue. Although I haven’t seen any of the episodes of Star Wars: Visions yet, it has a similar feel, in terms of each episode standing alone and not necessarily connecting to those before it. At the same time, this series differs from other well-known sci-fi anthology series like Black Mirror, The Twilight Zone, The Ray Bradbury Theater, and Love, Death & Robots.

African stories are front and center in Kizazi Moto, just as Mexican stories are at the center of Victor and Valentino and Villainous. The fact that Ramsey, known for his co-direction of Spider-Man: Into the Spider-Verse, gives this series credibility. Unfortunately, many originally incorrectly labeled this as “Afrofuturist,” despite the distinction as I noted earlier in this review, with some exceptions. With the premiere of Supa Team 4 late last month, My Dad the Bounty Hunter season 2  this month, and premieres for Iyanu: Child of Wonder, and Dantai, hopefully in 2024 or 2025, Black science fiction is moving to a broader audience.

Recently, Disney announced that The Proud Family: Louder and Prouder would be getting a third season. At the same convention, Annecy International Animation Film Festival, it was also revealed that The Sunnyridge 3, StuGo, Dragon Striker, and The Doomies will be going into production, along with a second season of Kiff, and future premiere of Primos sometime this year. All of this shows that Disney appears to recognize the value of diverse storytelling.

On the other hand, Disney continues to resist demands of striking writers and actors. Recently, newly-anointed Disney CEO, Bob Iger, denigrated striking writers and actors as “very disruptive”. The former are asking for a ratified labor contract, a fair residual formula for streaming services, stronger regulation of self-tape auditions, preventing artificial intelligence from replacing actors, while the latter want to limit use of artificial intelligence in the writing process, size of writers’ rooms, job security, and increased pay.

Due to Iger’s statement, there’s no guarantee Disney would pay them fairly or accept their demands at the present. However, it seems unlikely that the twin strikes by actors and writers will last long-term because, hopefully, the studio heads likely want to make a deal, even though some want to let things drag on until union members start “losing their apartments and…their houses.” Furthermore, it is not known how this will impact Disney’s push for diverse storytelling.

Kizazi Moto, along with various aforementioned series which are in production, those renewed, or those airing (Kiff, Hamster & Gretel, Moon Girl, and Hailey’s On It!) is part of Disney’s present course of action. Disney also has series in development such as Iwaju, Cookies & Milk, Tiana, or Moana: The Series. Clearly, the executives want to bring in, promote, and produce non-White stories. This was already clear with the Thai focus in Amphibia and various Black and Afro-Latina characters in The Owl House. It is even more evident with recent announcements.

I’m not sure where Kizazi Moto will go from here, but each has the potential to be expanded into their own series, or something more. I hope that they don’t suffer the fate of the little-known web series, Recorded by Arizal, by Filipino creator Yssa Badiola. That series was ignored by Rooster Teeth, and not greenlit into a full series, despite the amazing potential of the four-episode prelude.

Kizazi Moto: Generation Fire can be watched on Disney+.

© 2023 Burkely Hermann. All rights reserved.

Ratings: Animation: 5 Voice Acting: 5 Music: 5 Story: 4 Total score: 4.8

Nimona Spoiler-Filled Review

Nimona is a science fantasy adventure-comedy film. It is based on ND Stevenson’s webcomic, and later graphic novel, of the same name. Annapurna Animation, Vertigo Entertainment, DNEG Animation, Blue Sky Studios, and 20th Century Animation produced the film. Nick Bruno and Troy Quane directed it. Karen Ryan and Julie Zackary are producers. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, Nimona, being reviewed here, wouldn’t exist. As a warning, there will be discussion of death, murder, depression, suicide, and other distressing topics.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-second article I wrote for Pop Culture Maniacs. This post was originally published on July 31, 2023.

The film begins in an almost Disney-like fashion, with the opening of a scroll. Viewers are told about a kingdom where everyone lived in peace with nothing to fear. A “great and terrible evil” is said to be lurking in the shadows. As the narrator states, in this “dark hour”, a hero named Gloreth (voiced by Karen Ryan) rose up, banishing the evil. She vowed that her people would never be in such a vulnerable place again, thanks to an elite force of knights. Their descendants were tasked with protecting the kingdom for years to come. Following this, the narrator declares that if you want a happily ever after, you can never let your guard down because the monsters are “always out there”. This film takes place 1000 years later.

What follows is one of the film’s most important plot points: the beginning of Ballister Boldheart’s “villain arc”. While he is at the knighting ceremony with his boyfriend Ambrosius Goldenloin (voiced by Eugene Lee Yang), Queen Valerin (voiced by Lorraine Toussaint) declares Ambrosius, who is called Goldenloin in the rest of this review, a knight. However, she only calls him a “hero of the realm”. To make matters worse, his sword activates, causing him to stab the Queen, and kill her. Even though it is evident that someone set him up, everyone is against him, and he becomes a fugitive.

Before going further, it is worth noting the amazing cast choices with this film. Apart from Eugene Lee Yang, Lorraine Toussaint, and Karen Ryan, there’s Chloë Grace Moretz as Nimona, Riz Ahmed as Ballister, and Frances Conroy as The Director. This is enhanced by RuPaul and Indya Moore as announcers Nate Knight and Alamzapam Davis. Even two Saturday Night Live cast members voice characters: Sarah Sherman as Coriander Cavaverish and Beck Bennett as Sir Thoddeus Sureblade. In addition, Zayaan Kunwar voices a young Ballister, Charlotte Aldrich as young Gloreth, and Cindy Slattery as Syntheya (voice of the kingdom). Lastly, Julio Torres voices Diego the Squire, Sommersill Tarabek an Institute Analyst, and Lylianna Eugene as Patinece. Even ND Stevenson cameos as cereal mascot Kwispy Dragon.

What is interesting about these cast choices is that the voice actors have a lot of range. Moretz previously played Wednesday Addams in the two animated Addams Family films in 2019 and 2021, while Ahmed did the English dubbed voice of Takai in Weathering with You and Amin Nawabi in Flee. Furthermore, Yang voiced Toul in Star Wars: Visions, Toussaint famously voiced Shadow Weaver in She-Ra and the Princesses of Power, RuPaul as Mr. X in Amphibia, Moore as Shep in Steven Universe Future and Brooklyn in Moon Girl and Devil Dinosaur, while Conray has provided her voice to characters in We Bare Bears, Summer Camp Island, and many other (mostly live-action) productions since 1976.

Adding to this, Yang is outwardly gay and of South Korean descent. Ahmed is British-Pakistani. Toussaint is a Black woman born in Trinidad and Tobago. RuPaul is a Black gay man (and drag queen). Torres is a gay man born in El Salvador. Eugene is a young Black girl. Moore is a transgender non-binary Black woman with Dominican, Puerto Rican, and Haitian ancestry.

This diversity translates onto the screen. In the original comic, Goldenloin was a White man, but in this film, he is East Asian, like his voice actor. Similarly, Ballister is Asian descent in this film as well. Some online chatter claimed that the Queen Valerin’s death was “anti-Black”. However, this faulty and wrongheaded claim shows a lack of understanding about the film. For one, Valerin is beloved by everyone in the Kingdom. As such, everyone wants to avenge her death. Secondly, there are two other prominent Black characters, new anchors Alamzapam Davis and Nate Knight.

Furthermore, although Ballister is the one who “killed” Valerin, it is later revealed that this is a set up by The Director of the infamous Institute. Even if Valerin had survived, she would still be heading an oppressive system built on lies and deceit. So, there would have been a confrontation at some point. But, it’s hard to know when that would have happened.

There is more to this film than its diversity and cast choices. For one, Nimona has a strong chaotic and “riot grrrl” energy to her. This is clear from her introduction about 10 minutes into the film, when she breaks into Ballister’s “secret lair” (an abandoned tower) and “applies” to be his sidekick. Ballister isn’t sure about her, but she tells him that “every villain needs a sidekick”. After spurning her, he goes off to get arrested (despite his claim he won’t be). That whole scene, which is less than three minutes long, begins the great dynamic between Nimona and Ballister. Surely, it is different from what is in the original comic, but that’s ok.

Ballister’s character development is clear. He goes from being an “innocent” hero who loves the Institute to a “villain” determined to clear his name. He wants to find who is responsible for killing Valerin, no matter what. Nimona helps him along the way. She notes that when the world sees you as a villain, you are one, no matter how hard you try and change that perception. That’s an important message, especially when certain groups and individuals are villainized by reactionary individuals (and groups).

I also liked how fluid Nimona is with her forms. She changes into a rhino, a bear, a gorilla, a monkey, an ostrich, a whale, and a cat at different points in the film. Her ability to easily change her form is shown effortlessly in the film. This embodies the power of animation. If this film had been live action, rather than animation, it may have been an unmitigated disaster. Through her transformations, Nimona becomes a more relatable character, despite her desire for destruction. After all, she is excited when there are explosions through the Institute, with fire in her eyes, and saying “metal”. Her relatability may be heightened for those who are gender non-conforming, trans, non-binary, or combination of all three.

Goldenloin’s leadership of the mission trying to track down Ballister says a lot. It shows how committed someone can be to oppressive systems, even if you love the person being targeted. ND Stevenson noted in one interview that it is convenient for the Institute to cast Ballister as a villain and Goldenloin as the opposite.

This relates to the argument that at times cisgender gay individuals fit into corrupt institutions and systems that the trans community can’t. Ballister does this during the film. At the same time, the Institute claims they are taking “every precaution” to keep everyone safe. They even have tests to stop “monster attacks”. All these tactics attempt to keep people in a state of fear. Similar tactics were employed by Clu and his minions, like Pavel and Tesler, in Tron: Uprising. In that series, those villains attempted to marginalize the Renegade and get everyone to turn against him.

In an undoubted criticism of mass surveillance, the Institute look at their cameras and use facial recognition in an attempt to locate Ballister. Despite this, Nimona and Ballister still escape, with Nimona telling how she ended up becoming a shapeshifter, and even kidnap the squire (voiced by Julio Torres). He reveals that the Director set up Ballister, with the video evidence to prove it, with Nimona later uploading this video. It is implied that Nimona doesn’t feel pain. Later, in another relatable moment, Nimona says she feels worse when she doesn’t shapeshift, saying it makes her insides feel itchy.

Nimona is not alone in criticism of surveillance. At one point, in the ever-controversial and problematic gen:LOCK, Col. Raquel Marin demands loyalty, belief in the chain of command. She is so paranoid of people criticizing her that she orders covert surveillance on the gen:LOCK team (the show’s protagonists). There are many other examples of this in fiction. For instance, Philip K. Dick’s The Minority Report and A Scanner Darkly, The Lord of Rings move adaptations (specifically the all-seeing Eye of Sauron), THX 1138 (1971), Brazil (1985), V for Vendetta (2005), The Dark Knight (2008), and Snowden (2016) all have commentary which is critical of mass surveillance.

The rest of the film involves attempts to expose the Director for her crimes. In the process, the cruelty of the world is shown. The Institute’s Knights try to electrocute her, and a little girl declares she is a “monster”. The latter breaks her. She comments that she doesn’t know if it is scarier that everyone in the Kingdom wants to put a sword through her heart or that sometimes she wants to let them do that. Ballister agrees with her. But he reassures her that no matter what they do, they can’t change how people see them. This brings me to one of the best parts of the film: when Nimona shapeshifts into Goldenloin. She does so that the Director will admit her crimes and note that she framed Ballister.

Unsurprisingly, the Director tells Goldenloin she is innocent. In a TV broadcast, she inspires fear in people, declaring that anyone around them can be the “monster”. This is meant to increase public support for the Institute. She caps this off by lying, claiming she isn’t the one in the video, pointing to the fact that Nimona is a shapeshifter. To make matters worse, Goldenloin causes Ballister to doubt his faith in Nimona and she flees from the Institute’s knights, who now know the location of her secret headquarters. As she runs away and hides, she remembers playing, many years prior, with Gloreth, until the village residents pull them apart, surround her. She inadvertently causes a fire and Gloreth sides with ignorant adults of the town, declaring that Nimona needs to go back to “whence she came”, back to the shadows.

Nimona then alludes to how depression and anger can lead to suicide. Nimona attacks the walled city, and despite their attempts to stop her, she goes onward. In the process, the Director shows her true colors. She wants to turn the cannons on the city, even though many innocent people will die! The attempt by Nimona to take her own life, to have the statue go through her heart, is stopped by Ballister who tells her she isn’t alone and apologizes for her actions. As Stevenson noted in one interview, Ballister isn’t a bad person, but doesn’t understand everything Nimona is going through, even though he grows through the movie.

The film ends with the Director expressing her commitment to the oppressive system. She claims that Nimona is a threat to their “way of life”. Nimona appears to sacrifice herself and transforms into a huge phoenix. As a result, the Director is killed, and a wall is destroyed. However, this isn’t the end. There is a time skip. The kingdom has changed, with the former wall-breach becoming a trade road, while Ballister and Nimona are honored as heroes. Ballister is with Goldenloin, in a scene which reminds me of when Troy Sandoval and Benson Mekler run a restaurant side-by-side in the Kipo and the Age of Wonderbeasts series finale.

When revisiting his old hideout, Ballister remembers his time with Nimona, fixes up the place, and hears something which sounds like her. It is heavily implied that she has resurrected, bringing him great joy. This means that there is the possibility of a sequel or continuation in some form.

There have been many reviews of the film, whether in Variety, Empire, The Hollywood Reporter, Screen Daily, The Guardian, and Associated Press. None mention a criticism I saw online: that the film slimmed Nimona down from her chubby/fat/overweight self in the comic. I remember people claiming the same happened with Steven Universe over the course of that series. Fans had various explanations for that. As for Nimona, Stevenson stated that it was very important to him that Nimona’s body type be accurate in the film.

In one interview he noted that Nimona is “chubby…curvy…never sexualized, and…gender-nonconforming”. He added that she “has her own unique style…[and] chooses to look this way.” In another interview, Stevenson noted that it was “very healing” to draw Nimona’s body type because he had an hourglass-teenager body type which he was uncomfortable with. He further explained that Nimona is “not constrained by her body.”

The film is different from the comic in many ways. Even so, Nimona is still an “embodiment of that feeling of limitless possibility”. The film encourages audience members to question the labels people have assigned them,. It focuses on the ability of people to change and personal identity. As such, it should be no surprise that animators/creators such as Vivienne Medrano, Daron Nefcy, Michael Rianda, and Matt Braly, praised the film, along with many others on social media.

It is almost a miracle the film was made at all. In 2015, 20th Century Fox acquired the animation film rights to Nimona. The scheduled release was February 2020, with Blue Sky Studios doing the animation work. However, this changed when Disney gobbled up 20th Century Fox. As a result, the film was delayed to March 2021 and again to January 2022. To make matters worse, the pandemic caused remote production, adding a strain on the film’s crew. The film’s future was thrown into question when Disney announced that Blue Sky Studios was being shut down and ended the film’s production. While there will continual speculation as to why Disney did this, some argued that Disney cancelled the film because of its LGBTQ representation.

Annapurna Pictures revived the film. DNEG Animation was added as an animation partner. Despite this change, the voice cast was retained. Later, reporting revealed that the film was the first release of Annapurna’s new division, Annapurna Animation. The latter may be the division under which Hazbin Hotel is released. It will build upon an oft-watched indie animated pilot. In contrast, this film built upon what Blue Sky Studios completed before Disney closed the studio. This meant that the film wasn’t started “from scratch“. On a related note, I wish that Nimona would have been an animated series, rather than a film, as they could have explored more of the characters, but the film is strong on its own.

There is no doubt that more films like Nimona need to be in the world. This film comes at the same time that animated films like Spider-Man: Across the Spider-Verse and Elemental have done well. Others, like Ruby Gillman, Teenage Kraken have bombed at the box office, or have only been released on streaming platforms. The latter is the case for Justice League X RWBY: Super Heroes and Huntsmen: Part One, with a second part reportedly coming on October 31st.

Nimona would not be possible without hard work of the writers, animators, storyboarders, and other crew. A largely-circulated spreadsheet in which people anonymously described their conditions in animation studios does not mention Annapurna Pictures or Annapurna Animation. Two reviews on Glassdoor are diametrically opposed. One praises Annapurna and another is very critical. So, the true work conditions are hard to determine. The same spreadsheet includes reviews describing DNEG as having low pay, disorganization, and overwork.

There is no doubt that that each member of the crew worked hard on this film, even though their working conditions may not have been the best. This film aired 59 days after the writer’s strike began and 14 days after the actor’s strike began.  Those individuals are represented by WGA and SAG-AFTRA. Both strikes are paired together in a Wikipedia page entitled “2023 Hollywood labor disputes”. The script and work had been stockpiled. This allowed for the film to be aired. Netflix has become a struck company for striking actors and workers.

There is no doubt that the material work conditions for writers influences how “good” or “bad” a work is. High-quality and well-edited work is only possible when studios value creative labor and give writers enough security and time to perform that labor. The studios are often standing in the way between the audience and the vibrant art. As I noted in my last review, online jerks who hated High Guardian Spice said it was “bad”. These claims were faulty. The real reason should be obvious: the horrendous working conditions at Crunchyroll.

The Animation Guild, also known as IATSE (International Alliance of Theatrical Stage Employees) Local 839, which represents animators in Canada and the U.S., does not have talks for a new contract until 2024. The results of the present strikes by writers and actors will likely impact the contract and shape the demands that the guild makes of studios. There are reports that WGA East will add animation writers to their union next year. It could cause the relationship between the WGA and animation writers to cool from previous “bad blood” which dates back to a “turf war” in the 1970s between the Guild and WGA.

The success of this film proves that those who claim that a film needs to “tone down” its queer themes are wrong. The same goes for anti-establishment films. Arcane is another example of a series which suggests that institutions that “try to hide and kill people” should be torn down. At the same time, there is a contradiction of liberals and progressives within Hollywood producing “revolutionary queer happy ending stories” but not doing anything to make this happen in reality.

On the other hand, the series differs in many ways from the comic, no matter how queer the cast is. The webcomic, which later became a graphic novel, depicts mental institutions as agents of oppression which “engage in structural violence.” It does this even better than series like Disenchantment. There’s also a focus on disability, as Ballister, in the comic, has a prosthetic arm. This is replicated in the film, although his prosthetic arm comes about in a different way.

The film, unlike the comic, is comedic in the first part, then more dramatic. The comic had a different tone. Even so, both are metaphors for transness and have positive LGBTQ representation. It is a milestone for Western animation. Disney clearly missed an opportunity by turning down (and cancelling) the film before its revival.

Nimona does much more than the family-friendly animated film, The Mitchells vs. the Machines. The latter was praised for putting a queer character, Katie Mitchell (voiced by Abbi Jacobson) at the center. Nimona has more openly queer characters, specifically Ballister and Goldenloin, who are both gay. As for Nimona, her character is open to interpretation, including an implied gay relationship with Gloreth before she betrayed Nimona.

The Mitchells vs. the Machines had unnecessary hype for a sci-fi comedy romp. It centered on White family, has extraordinarily little rewatch value, and only hints at Katie’s queerness. Her girlfriend is shown in almost a blink-and-you-miss-it moment. Film director Phil Lord was criticized for creating a crunch environment for animators working on Spider-Man: Across the Spider-Verse. Possibly, work conditions for animators on The Mitchells vs. the Machines were the same.

Nimona avoids the issues with the aforementioned film, to its betterment. Public Enemy famously sang, in their 1988 hip-hop single, to not believe the hype. For Nimona, it lives up to the hype in many ways. In contrast, The Mitchells vs. the Machines falls flat, stitching together “hundred familiar film plots“, has inconsistent themes, and is very nostalgic.

It is worth noting the importance of pink as a color in Nimona. Stevenson described the color pink as Nimona’s way of expressing her nonconformity and refusal to act according to “anybody else’s standards”. Instead, she will be unequivocally herself. This contrasts with how pink is portrayed in Steven Universe. That series already subverts toxic masculinity and normalizes trauma. Series creator Rebecca Sugar noted that Revolutionary Girl Utena influenced her. As Peter Tedesco wrote, Steven’s choice of a pink shirt with a big star and pink flip-flops goes against “traditional masculinity”, and exudes femininity. His pink shield or oft-crying do the same. As such, Nimona and Steven Universe subvert the “traditional” meaning of pink, each in their own way.

Ultimately, Nimona has a strong rewatch value, even though it differs from the webcomic which has a focus on secret documents and bureaucracy. The latter wasn’t a major theme in this film. While this film, in terms of themes, somewhat connects to She-Ra and the Princesses of Power, the same may be true for future productions by Stevenson. The latter includes “two book series of novels” and the animated adaptation of Lumberjanes (hopefully coming out in 2024).

Overall, I recommend this film. Nimona is currently streaming on Netflix.

Ratings: Animation: 5 Voice Acting: 5 Music: 5 Story: 5

© 2023 Burkely Hermann. All rights reserved.

Unicorn: Warriors Eternal Spoiler-Filled Review

Unicorn: Warriors Eternal is a mature supernatural fantasy comedy with steampunk elements. Genndy Tartakovsky, who is well-known in the animation industry, is the director and creator. He is best known for Dexter’s Laboratory, Star Wars: Clone Wars, Sym-Bionic Titan, and Samurai Jack, and more recently, Primal. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, Unicorn: Warriors Eternal, being reviewed here, wouldn’t exist.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the forty-first article I wrote for Pop Culture Maniacs. This post was originally published on July 24, 2023.

This series has a simple plot: a group of heroes are inadvertently awakened by Copernicus, a steam-powered robot, in bodies of three teenagers (Emma, Alfie, and Dimitri), rather than in bodies of adults, like in the past. These heroes are opposed by a mysterious foxlike woman (voiced by Grey DeLisle), who embodies evil.

Unicorn: Warriors Eternal drew me in as a person who enjoyed watching Star Wars: Clone Wars as a kid (and have re-watched it various times), and liked Samurai Jack and Sym-Bionic Titan. Voice actors like Jacob Dudman (voice of Edred) who voiced two characters in Primal, and DeLisle, voice of the mysterious woman and the original Melinda, strengthen this series.

Delisle is well-known for her work in animation, including voicing characters in Invincible, Kid Cosmic, The Owl House, Kipo and the Age of Wonderbeasts, DC Super Hero Girls, She-Ra and the Princesses of Power, Elena of Avalor, Star Wars Rebels, The Legend of Korra, Young Justice, and My Life as a Teenage Robot. In contrast, Hazel Doupe, the voice of Emma in this series, is unique. This is her first voice role, as she has only done live-action series before.

I wasn’t as familiar with Jeremy Crutchley, Demari Hunte, Alain Uly, Tom Milligan, Ron Bottita, or George Webster, the voices of Merlin, Alfie, Seng, Lord Edward Fairfax, and Winston in Unicorn: Warriors Eternal. I say this even though Crutchley voiced Glad-One and One in Infinity Train, and Uly as Lieutenant Maylur and two stormtroopers in Star Wars: The Bad Batch.

Others, such as Hunte, Milligan, Bottita, Webster, appear to be new to voice work. Rosalind Ayres (voice of Lord Katherine Fairfax) previously voiced characters in video games while Robbie Daymond (voice of various one-off characters) lent his voice to the notorious Curious Cat in Volume 9 of RWBY! He voiced Jesse in Infinity Train season 2, Raymond in OK K.O. Let’s Be Heroes!, and many other English dubs of anime characters.

The steampunk setting in Victorian London, in 1890, in this series, reminded me of Steamland in Disenchantment, the upper city in Arcane, or the similarly steampunk action anime, Princess Principal, which spawned a multi-part film series. The steampunk genre has even reached into indie animation and comics. It includes films like Snowpiercer, Atlantis: The Lost Empire, and Howl’s Moving Castle, along with animated series like Nadia: The Secret of Blue Water and The Legend of Korra. I am even reminded of an unaired 2001 pilot for Constant Payne, by Indigenous writer Micah Wright. It has a strong steampunk aesthetic.

Unicorn: Warriors Eternal is different than all of those previously mentioned. It is unique in its own way. Just as Samurai Jack was set in the future, with magic, robots, lasers, and the like, this series is set in an alternate world. Unlikely the haphazard and strange inclusion of futuristic technology in the far-too-short Yasuke, this series is much more complete. It draws inspiration from works by animators Max Fleischer and Osamu Tezuka, films by Hayao Miyazaki (like Howl’s Moving Castle) and other steampunk aesthetics.

The show’s character designer, Stephen DeStefano, worked on Sym-Bionic Titan, Primal, and other projects, with Tartakovsky. He pushed, as did Tartakovsky, to ensure the series had an “old aesthetic” but was told “in a very contemporary way”. The studio producing the series, Cartoon Network Studios, has produced many of Tartakovsky’s previous projects. Some of the same animators who worked on his previous projects may be working on this series.

These animators could not do their work without the writers. If a recently circulated spreadsheet is representative of Cartoon Network Studios as a whole, it would mean that, for animators, there is repetitive work, little opportunity for advancement, sterile environment due to the Warner-Discovery merger, disorganization, burnout, and overwork. There are two primary show writers: Darrick Bachman and Tartakovsky. While the latter is more well-known, the former is not, despite his work on Primal, Samurai Jack, Regular Show, Star Wars: Clone Wars, and many animated series, some of which he worked on with Tartakovsky.

If Glassdoor is accurate, each of these writers makes somewhere between $46,000 to $83,000 a year. I would guess that Tartakovsky is paid more than Bachman. In any case, the conditions the writers work in influences whether a show is “high-quality” or “low-quality”. High Guardian Spice was said to be the latter, until it was revealed that the working conditions at Crunchyroll were horrendous. This does not appear to be the case for Cartoon Network Studios. The recent closure of the iconic studio’s headquarters, with employees told to move to a sterile, lifeless Warner Bros. building instead, it does not bode well.

Even some predicted that under David Zaslav, it is difficult to “imagine a future in which the studio’s original animation output can match what it has been in the past,” with a strong shit to reboots rather than original series. However, if the writers, and actors, are successful in their strike, these conditions may change for the better. On the other hand, the studios are doing all they can to burn down motivation of actors and writers, while stockpiling completed works and scripts before the strikes began.

Coming back to the series, Unicorn: Warriors Eternal is a relatable coming-of-age story. The protagonist, Emma (who can transform into Melinda) is struggling to determine whether she is “Emma” or “Melinda”. She loses control of her powers after any emotional outburst she has. Having one’s powers tied to their emotions is not new. In the last half of Elena of Avalor‘s final season, the protagonist, Elena Castillo Flores, had to wrestle with the fact that her magical abilities were tied to her emotional moods. The same was the case for Steven Universe in the series of the same name, and in Steven Universe Future.

For Emma/Melinda, her anger and fury seem to be how she expresses her power, in a super saiyan esque transformation. While this expression of raw power can be effective in defeating enemies, it doesn’t prevent her from hurting people, unintentionally, in the process. For instance, in the second episode, she uses this power to defeat a huge magically possessed elephant. However, her fiancé Winston is badly hurt in the process and the surrounding area is nearly obliterated.

The use of her abilities in Unicorn: Warriors Eternal are complicated by her relationship with Edred, a warrior elf. He reincarnates in the body of a wanna-be magician named Dimitri. After Copernicus resurrects him, he rushes over to Emma/Melinda, and kisses her. While he has memories of their relationship, Melinda-as-Emma does not. Making matters worse, she still has some romantic feelings for Winston, who wants to “rescue” her from her “new” form.

This contrasts with Edred. He can effectively fight with a sword in manner which almost seems reminiscent of the sword-wielders in anime or those in Western animations like Amphibia, She-Ra and the Princesses of Power, and Steven Universe. Like all Tartakovsky productions, Edred has his own specific style. Every character is stylized in their own way. This is thanks to the aforementioned character designer, DeStefano, and work by many others at Cartoon Network Studios. The same is the case for their battle moves and attacks. It sets the series apart from others with similar themes.

The team of Emma/Melinda, a cosmic monk named Seng (in the body of a young Black ruffian named Alfie), Copernicus, and Edred, make an interesting combination. Each has personal issues they must overcome. Seng cannot fully comprehend the cosmic plane as a young child. Edred has a “clouded” mind despite having a largely intact memory and retains his power. Emma/Melinda has an identity crisis. She even tells Winston, at one point, that she isn’t Emma anymore and that the Emma he knew is dead. This is a cold, hard truth which is hard for him to accept.

The complications in each character’s lives make it an increasing challenge for these heroes, whose souls are tasked with protecting the world throughout eternity. With the scrambled memories, especially of Emma/Melinda, and the fact that only Edred remembers the most about their role in fighting evil, it makes the story that much more intriguing. The secretive villain is almost as devious as Shadowy Figure in O.K. KO!, but shares more characteristics with Kilgore in Justice League x RWBY: Super Heroes and Huntsmen, Part 1. He aimed to change the Justice League into teenagers, so they are “vulnerable”, are ripped apart by the world, and must deal with emotions they ignore or regress as adults.

There is one major difference. The villain in Unicorn: Warriors Eternal never intended on awakening the Order of the Unicorn (Melinda, Seng, Edred, and Copernicus). Instead, she wanted to destroy Copernicus so the order would cease to exist. The villain exploits the situation for her own ends. She hopes that these heroes will be resurrected one final time. The heroes will do anything they can to stop this evil, with Edred declaring that the villain will “not succeed”.

In future seasons, Melinda’s insecurities may be exploited just as Invictus did with Ash Graven in Final Space. If so, she may turn against her friends. It is hard to say whether the series villain will be as devious as Aku, who had built an entire empire and dedicated many of his resources to track down Samurai Jack.

By the show’s third episode, there is a clear focus on discrimination, specifically how humans will “other” that which they don’t understand. The response of the British police and Scotland Yard to a theft of priceless artifacts bound for the British Museum is to arrest anyone engaged in “magic” in London. There are mass arrests of soothsayers, fortune tellers, and anyone else on Mystic Row.

To make matters worse, they put up a Wanted poster for Emma/Melinda. Even when two spiritualists, Clarice Leydoux and Lao Xi Sheng, tell the police detective the reality, he doesn’t believe them. Clearly, the police in this series, including Inspector General Hastings (voiced by Gildart Jackson), do not know how to deal with the situation at hand. People such as Agatha (voiced by Rosalind Ayres), another royal official, try and put in place more order.

Through it all, Emma/Melinda tries to figure it out herself. She isn’t sure of her connection with Winston, who she inadvertently injured. She even goes to a seance which separated her two identities, making her question whether she wants to be a hero or not. As a result, she declares that she hates the other part of herself. Her father even realizes that she is different, remarking “that is not our daughter”. Winston remains in pursuit, even when he clashes with Edred on who “truly” loves her.

After the first two episodes, the series explored the insecurities of Seng. The villains cause him to be swallowed by a cosmic fox. The latter, known as a Lady Fox, attacks them. An amazingly animated chase scene on the rooftops follows, reminding me of similar scenes in Star Wars: The Clone Wars and Samurai Jack. In the fourth episode, this is more apparent. Seng is unable to use his powers while he is trapped on an abandoned ship with other Unicorn team members. He even starts to become translucent! Although they escape this predicament, it could foreshadow more trouble for Seng in the future.

As Emma/Melinda learns more about the story of her Melinda side, with the child version of original Melinda voiced by Marley Cherry Hilbourne. She learns that her mother, Morgan Le Fay (voiced by Peta Johnson), was terribly injured, thanks to her. It is revealed that Merlin (voiced by Jeremy Crutchley) is her father. The conflict between the two halves of herself remains an important part of the story. This is especially the case when they all fight a big squid threatening to destroy the town. Her attempts at reconciliation do not go well, even though she is making some progress by the seventh episode.

At the end of the fifth episode, Unicorn: Warriors Eternal takes a bold step: it appears to kill off one of its protagonists, Copernicus. This is comparable to a similar “loss” of Octus in Sym-Bionic Titan. While Emma/Melinda is most distraught, she works together with Edred to find someone to repair Copernicus. They find an inventor named Otto (voiced by Jason O’Mara), thanks to a robot named Dashwood (voiced by Chris Butler). He works on a huge floating airship, which functions like a space station.

He remarks that Copernicus is like a robot he hasn’t created yet, but he says it feels familiar. Copernicus cannot fully come back until his magical power is restored. He is a futuristic magical being. The power from an ancient magical stone is used by Merlin. He brings Copernicus back to life. Even so, this sequence implies that Copernicus can die, in certain instances.

The seventh episode of Unicorn: Warriors Eternal is a rollercoaster ride. It is revealed that Edred left his bride-to-be, in an arranged marriage meant to unite two clans, to be with Melinda. At the same time, it is further implied that Emma/Melinda somewhat remembers this. The quest to get the necessary magical power, the presence of Merlin, and restoration of balance, causes Edred’s brother, Aelwulf (voiced by Jack Bandeira), to regain respect for him.

At the end of the seventh episode, the Unicorn team learns that they still have evil to fight, and that their time in this world has not ended. It is implied that Merlin will help them stop it. The eighth episode throws this into question. Out of nowhere, Merlin appears and tells them to come “quickly” to battle an evil machine killing the land. While they meet the mighty tiger Rakshasa (voiced by Sunkrish Bala), Merlin attacks Emma/Melinda, surprising them all.

The last three episodes of Unicorn: Warriors Eternal lay bare tensions between the group members. This is clear with the addition of a new member, Winston, who can become a werewolf. Predictably, Edred objects, as Winston has feelings for Emma/Melinda. All the while there is the fight against evil, which exudes dark magic.

This reaches a critical point in the ninth episode when the evil leaves Merlin and enters the cosmic realm. They meet an older Seng who has been fighting it for over 20 years, with no success. It is said that if the evil devours everything, the world will end. Merlin and Rakshasa remain optimistic until Emma and Melinda are split apart.

I wish Unicorn: Warriors Eternal had been longer. By the eighth episode, it appears that Melinda is coming to peace with the part of her who is Emma, and vice versa. This seemed too quick. Her struggle with her identity could have stretched across an entire season of 20 to 26 episodes. Take Cassandra in Rapunzel’s Tangled Adventure, for example. Zhan Tri mentally manipulates her. Even so, she tries to figure out her identity and how she feels about Rapunzel. Like that series, which ended with a bang, this series is burdened by compulsory heterosexuality. Tangled differs by featuring well-recognized gay vibes between Rapunzel and Cassandra, shipped by fans as “Cassunzel”.

Much of the internal struggle that Emma/Melinda experiences is couched by a love triangle. Emma loves Winston, while Melinda loves Edred. However, Edred hates Winston and vice versa. Due to the propensity of male characters in this series, there isn’t any character, female, non-binary, or otherwise, written for Emma/Melinda that would allow her to have a queer romance.

Even so, the struggle of Emma to reunite with Melinda, resulting in defiance of her by-the-book parents, is promising. Considering this series is set in the 1890s, it is no shock that Emma’s parents try to hold her back. They think she is out of her mind and want to take her to a doctor, who will commit her to an asylum. Her actions, including drawing on equations on the walls of the bathroom, akin to the oft-memed scene from It’s Always Sunny in Philadelphia in which Pepe Silvia goes on a conspiratorial rant, don’t help her case. In her defense, she is desperate and wants to get back to the cosmic realm at any cost.

This episode goes off the rails when two huge men try to capture Emma and bring her to “the doctor”. What follows is an intense chase scene in which Emma has many near-death experiences, and barely escapes those trying to get her, even riding a steam-powered tram to Mystics Row. Two mystic warriors (Clarice Leydoux and Lao Xi Sheng) offer to help her. With their assistance, she uses the Heart of the Forest to get to the cosmic realm.

The Unicorn: Warriors Eternal finale concludes strongly. Emma inspires everyone, reuniting with Melinda, and convinces them to combine their powers into one. They strike a decisive blow against evil forces. This is blunted by the surprising revelation: Morgan is trapped in the heart of the evil beast! At the end of the episode, the protagonists find themselves in a bizarre world in which “the evil” has changed everything. Emma/Melinda gets the last word, noting their determination to save Morgan and defeat the evil being no matter what.

The ending is not definitive, but is open-ended. The central conflict rings true, especially if seen as a metaphorical extension of Genndy Tartakovsky as a Jewish immigrant who faced pressure to support his mother and live up to the myth of a “model minority”. A possible second, or even third, and fourth season could expand upon these characters and their struggles. Possibly, the series may go an Infinity Train route, having different characters for each season.

I hope that any possible future seasons of Unicorn: Warriors Eternal would increase diversity of the cast. Surely, there are talented voice actors like a Black men Demari Hunte (voice of Seng) and Victor Alli (voice of Adult Seng). They are joined by a Filipino man, Alain Uy (voice of Lao Xi Sheng), an American actor of Tamil descent, Sunkrish Bala (voice of Rakshasa), and a British actor of Iraqi, Lebanese, and Indian descent, Brian George (voice of Darvish).

From the available lists of the cast members, I’m not seeing much diversity beyond the aforementioned individuals. A quick read of the cast list for Primal indicates that the series has a much more diverse cast than this series! Perhaps, this is just reflecting the fact that historically, London was ethnically homogeneous, composed primarily of White British residents, until after World War II. By 1891, over 5.6 million were living in Greater London, a number which would grow in later years.

Cartoon Network Studios president, Sam Register, is an executive producer, and Shareena Carlson is supervising director. Unicorn: Warriors Eternal is expertly animated thanks to Studio La Cachette in France and Studio Zmei in Bulgaria. Cartoon Network Studios is the aforementioned production company. This is reinforced by the show’s music, composed by Tyler Bates and Joan Higginbottom. It is effective, connecting the action with the story. It makes you excited to watch each episode, and become more invested in the characters.

None of this is much of a surprise. Bates is a well-known producer, composer, and musician, primarily of action and horror media, including the John Wick franchise. He was probably chosen because he composed the music scores of Sym-Bionic Titan, the fifth (and final) season of Samurai Jack, and Primal.

Similarly, Higginbottom was a composer on the same season of Samurai Jack, Primal, and John Wick Chapter 4. Tara Billinger, known as the creator of Long Gone Gulch and a storyboarder, did production work on the series as well. The animators either worked on French productions not known in the U.S., or series such as Love, Death & Robots, and Primal. Even Tartakovsky did some storyboarding. The animation, background art, and set pieces are strong in this series.

Unicorn: Warriors Eternal may have been a passion project for Tartakovsky. However, it is incorrect that the plot is “humdrum”. Furthermore, Emma/Melinda is not a “poorly written” character, nor does she have a “pat dilemma” or lack emotional complexity. Her struggles are at the series’ center. On the other hand, this series, like Dexter’s Laboratory, Samurai Jack, Star Wars: Clone Wars, Sym-Bionic Titan, and Primal, is male-centered. In fact, Emma/Melinda is the only female protagonist.

The series has “urgent stakes” and the characters are intriguing. This accompanies amazing mythologies and some worldbuilding. It could be better, but it is not missing “the magic of Tartakovsky“. Instead, this series is unique and different from other Tartakovsky series in the past. Surely, I’d love to have queer characters and even have a love triangle akin to the one between Hazumu Osaragi, Yasuna Kamiizumi, and Tomari Kurusu in Kashimashi: Girl Meets Girl. Unfortunately, this series did not go that direction, instead having male-female couples, without any one-way crushes.

Overall, despite my criticisms, Unicorn: Warriors Eternal is an enjoyable series and I’d recommend it. I can hope that it improved to become even better, breaking out of the good-evil dichotomy, and other common tropes used in Tartakovsky’s work.

Unicorn: Warriors Eternal can be watched on Adult Swim or streamed on Max, DirectTV, and Spectrum. It can be purchased through Prime Video, Google Play, Vudu, or Microsoft Store.

© 2023 Burkely Hermann. All rights reserved.

Ratings: Animation: 5 Voice Acting: 5 Music: 5 Story: 3 Total Score: 4.5

Skip and Loafer Spoiler-Filled Review

Skip and Loafer is romantic comedy and slice-of-life anime, written and directed by Kotomi Deai. It is based on an ongoing manga series of the same name written and illustrated by Misaki Takamatsu. This animated series was produced by P.A. Works, known for series such as Canaan, Kuromukuro, Akiba Maid War, and Aquatope on the White Sand.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the fortieth article I wrote for Pop Culture Maniacs. This post was originally published on July 16, 2023.

This series has a simple storyline. A girl named Mitsumi Iwakura (voiced by Tomoyo Kurosawa) goes to Tsubame West High School, a school in Tokyo, with the goal of becoming a rural planner in her hometown. She leaves her friends, such as Fumino “Fumi” Toyama (voiced by Sumire Morohoshi), behind. While walking to school, Mitsumi believes everything is going her way, but gets lost. She is helped by another student, Sōsuke Shima (voiced by Akinori Egoshi). Somehow, they both get to the opening ceremony just in time, allowing her to give a speech to the incoming class. However, thanks to their fast running, she throws up onto her teacher, earning her the nickname of “barf girl”. And that’s only the first episode.

Admittedly, I had not originally planned to watch Skip and Loafer. Reading Alex Henderson’s review of the first episode for Anime Feminist, convinced me otherwise. This view was reinforced by the spring premiere digest on the same site. It described the series as a “sweet coming-of-age story” with an anxious, driven, and endearing female protagonist. The review also said the series had a “positively depicted trans guardian” named Nao (voiced by Mitsuki Saiga). After watching all twelve episodes of the first season, I have to agree with their assessment. However, there is a lot more to the show than the assessment by these reviewers.

There are hilarious moments in each episode. This is especially the case when it comes to Mitsumi’s antics, or when the reality of people is hidden. This humor is not based off any tropes or common stereotypes. Even so, it makes you empathize with the characters, endear them to you, and make you interested in learning more about them as people.

Unlike other anime I’ve reviewed this year, Skip and Loafer gives its characters depth. In the fourth episode, Mitsumi is told by slacker teacher Hanazono that student council treasurer Tokiko Takamine (voiced by Minami Tsuda) is an organized person. She is impressed and connects with her almost instantly, seeing her as a senpai. Takamine even tells her how to use her time more efficiently.

However, Takamine has anxiety hidden below the surface. She is barely holding it together and even has nightmares about missing the bus or train. I liked that Takamine learns from Mitsumi to not panic if things don’t go her way, to accept what is around her, and not be tense all the time. This is something which many people can resonate with.

Somehow, Mitsumi inadvertently causes Takamine’s nightmares to disappear. She even influences her to admit that everyone should have their own path and way to use their time. Overall, Takamine is very relatable, as she is generally very organized. In some ways, she reminds me of my own personal organizational habits.

The interactions between Mitsumi and Sōsuke are at the center of Skip and Loafer. They learn more about each other and cheer up one another, if one of them feels down. While there are some romantic feelings between them, they are undoubtedly good friends who support each other, even if times get tough. That is part of the great storytelling in this anime.

I further liked the series because it isn’t as dramatic like Kaguya-sama: Love Is War or Yuri is My Job!. Nor is it idolish like Alice Gear Aegis Expansion and Kizuna no Allele. Instead, it has a similar same pace, and feel, to Kuma Kuma Kuma Bear or iyashikei series like Adachi and Shimamura and Laid-Back Camp. It reminds me a bit of K-On! and My Roommate Is a Cat for the same reason. However, it isn’t an iyashikei series. There is a focus on the plot, characters, and worldbuilding. But there isn’t an immersive visual setting, meaning that it does not fit the definition of this anime sub-genre.

Slice-of-life series are some of my favorite anime. I still remember fondly watching, apart from those already named, Azumanga Daioh, Squid Girl, YuruYuri, Kin-iro Mosaic, and Teasing Master Takagi-san. However, Skip and Loafer isn’t exactly like those anime. Not is it like Let’s Make a Mug Too, Akebi’s Sailor Uniform, Sasaki and Miyano, Gabriel DropOut, or Words Bubble Up Like Soda Pop. In some ways, this series gives me the same vibes as the first cour of The Aquatope on White Sand, a series also produced by P.A. Works. The second cour of that series had a different tone, as it showed the brutal reality of the workplace and how it can wear you down to nothing.

Skip and Loafer stands out because of the casual queerness shown in the series. This is especially exemplified by Mitsumi’s aunt, Nao. I hadn’t picked up that she was trans, because it is relatively subtle, until reading some articles about it. After that, I could recognize it being mentioned throughout the series. Nao appears to be accepted and no one bats an eye about it.

The fact that Nao is trans is as subtle, in some ways, as May Marigold stating openly that she is trans in a Volume 8 episode of RWBY, without specifically using the word “trans”. There is some danger in subtlety, as everyone may not recognize it. Some series have done it better than others. I would say that Skip and Loafer does a good job of this, although it would be great to have additional LGBTQ characters.

There is more than casual queerness in Skip and Loafer. It is represented by characters that lean into “common archetypes.” Nao experiences transmisogyny and Mitsumi supports her. She cares for Mitsumi deeply. She goes undercover as an “uncle”, and is joined by Egashira (voiced by Yuka Terasaki). The latter thinks Sosuke is a “clout-chaser,” during Mitsumi’s date with Sosuke in the eighth episode. The reality is that Egashira has a crush on him and is jealous.

In that same episode, Mitsumi and her friends come over for a summer outing, a sleepover, allowing them to get even closer than they had before. She tells her friends that Nao is “biologically male” (i.e., trans), to not cause a panic. Thanks to Nao, she knows some make-up language, which gives her a leg up in their conversations. Later, when Egashira tries to leave, Nao convinces her to stay, again showing her role in keeping Mitsumi’s friends together.

The bond between Egashira and Nao is strong. In one Skip and Loafer episode, Egashira is sad that she can’t talk to her at the school festival. This is after both, as noted earlier, bonded when they were spying on Sosuke and Mitsumi, during their date. Hopefully, a second season will expand on their friendship.

One of the most popular ships among fans is between Mitsumi’s two schoolmates, Yuzuki Murashige (voiced by Maaya Uchida) and Makoto Kurume (voiced by Megumi Han), who are opposites from one another. Mitsumi brings them closer together, with fans praising their romantic “chemistry”, including cute interactions.

The implied romantic feelings between Makoto and Yuzuki reaches a high point in the show’s 11th episode. Yuzuki puts off a guy who is hitting on her and says that she dislikes it when people praise her art without looking at it deeply. Of course, Makoto does the opposite, praising the art, and makes Yuzuki blush in response.

While some may say their interactions are  “yuri-baiting”, referring to series which show romantic relationships between girls/women without having that “relationship come to fruition,” it is more fair to call it yuri subtext. For one, Makoto and Yuzuki have unresolved feelings for one another and aren’t a couple. Their feelings have not been realized. Yuri subtext is all over the place in anime, from Magical Girl Lyrical Nanoha to Mahou Shoujo Madoka Magica. It differs from more directly-shown love like that between Anis and Euphie in MagiRevo or one-sided love shown in Alice Gear Aegis Expansion.

Mitsumi is a sympathetic character because she isn’t good at athletics, like Mako’s worries about athletic events. This serves as a way for Mitsumi to bond deeper with Sosuke, who accepts her for who she is. Sports, and their emphasis, are a major part of Japanese culture, like it is in the U.S. Those who don’t conform to the “norm” to be ridiculed. In this series, the difference from the norm is portrayed as acceptable. It is fine to be less social, quiet, and not like sports.

One of the best parts of Skip and Loafer is how Mitsumi connects with her classmates, either Sosuke, Yuzuki, Makoto, or Mika Egashira. The latter is nervous, at first, at interactions with nasty male classmates. She even has a mental list of those who are mean to her and vows revenge on them for what they did to her.

As a result of their friendship, Egashira’s attitudes change. Her crush on Sosuke strengthens, even as she feels left behind as Sosuke appears closer to Mitsumi than her. She is hiding inner conflicts and trauma, implying she has low self-worth.

Her desire to go through schooling, to help her hometown of Ikajima, is admirable. Throughout the series, she has a connection to Ikajima since her childhood friend, Fumi still lives in the town. She doesn’t have many lines in the series and so few, that no one even bothered to add her to the show’s Wikipedia page. She is someone that Mitsumi can vent and talk to. This all comes to a head in the ninth episode when she visits Ikajima and has a fun time with her middle school friends.

The romantic comedy themes of Skip and Loafer shine through in the show’s sixth episode. Mitsumi begins believing rumors about Sosuke, thinking he is a “bad boy” who skipped school and faked being sick. After he tells her to not believe the rumors, she realizes that she is in love with him, and tells Fumi she feels the same way about Sosuke as Fumi did about her friend as well.

This plot is interlaced with Mitsumi’s work in the school’s student council. She becomes the student council secretary alongside Takamine. She encourages the latter to work with the new president-elect, Hiroto Kazakami (voiced by Junya Enoki), telling her that all we can do is hope it pays off some day. This is diametrically opposed to what is shown in Ippon Again!, that hard work can lead to success. This idea has been questioned in recent years.

Not everything is puppies and roses in this series. This is made clear when Ririka Saijou (voiced by Minako Kotobuki) comes out of nowhere at the end of the seventh episode. She is said to be a “childhood friend” of Sosuke. Ririka is more than that. She is a model who sneers at Mitsumi, calling her a “circus act”. She even declares that he can’t have a high school life because of an incident four years before in which he, apparently, showed bad judgment. In essence, she blackmails him.

This doesn’t stop the growing romance between Mitsumi and Sosuke, however. In fact, in the ninth episode, she expresses her enthusiasm, and gives him three squid crackers from her hometown, because she feels bad for him. Although he feels he doesn’t “deserve anything”, their interaction brings a smile to his face. As such, Skip and Loafer is saying that rather than beating ourselves up over our mistakes, we should take chances instead.

The last three episodes are some of the strongest in the entire series. While the preparation for a school festival is not a new plot in anime, the play is pertinent in today’s world that reactionaries are stronger than ever. It is about a person who falls in love with fascists and joins them because of romance, even turning on his own family!

Some Jewish fans have even stated that anime has a “Nazi problem” and is anti-Semitic due to Attack on Titan, Angel Cop, Fullmetal Alchemist, Hellsing, and Jojo’s Bizarre Adventure, and Hetalia: Axis Powers characters. These views remain controversial, with the argument that Western viewers are misinterpreting plotlines through a distorted lens.

Back to Skip and Loafer, Sosuke’s role as a friend shines through. He cheers up Mitsumi, thinking back to his bad childhood, and tries to make sure Mitsumi doesn’t hurt herself. They end up talking and having a fun time together. Understandably, Mitsumi feels bad that she allowed Sosuke to be picked for the play. After all, he didn’t want an acting role. Again, this shows the power of peer pressure and “need” to be socially accepted. In fact, Sosuke worries that people only see him one way and he can’t do anything to “ruin” that perception.

Sosuke ends up shining through, in the 11th episode. He does an amazing performance, impressing his half-brother Keiri and his mother. He ends up enjoying himself. The series says that he should be grateful to his brother, who has been considerate of him, rather than dismissive. However, Ririka’s arrival threatens to destroy it all!

The Skip and Loafer series finale brings this to a head. In an act of intimidation, Ririka falsely accuses Sosuke’s mother of making Sosuke act for her again. This causes Sosuke’s mother, and Keiri, to leave. Even so, Mitsumi bravely defends Sosuke from Ririke, standing between them both, like an anteater. As a result, Sosuke realizes he can act for himself, rather than doing it for others. He is comforted when he forgets his lines at the end of the school play.

In one of the most powerful scenes in the entire series, Sosuke stands up for himself. He says that he can’t make up for what he did to Ririka. Even so, he refuses to follow the same self-destructive path as her, noting that he is enjoying school life. As an olive branch, he offers to do anything to help her move on. Predictably, Ririka is infuriated.

She lashes out, declaring that Sosuke is selfish and narcissistic, and says the same about his mother. She doesn’t want him to get his life back and wants to continue manipulating him. As a result, she pushes him away, arguing that Sosuke and his mother can do what they want, but to not show his face to her again. After he thanks her, this shocks her to the core.

Although the series finale might be beginning the “redemption” of Ririka, she is not a sympathetic character. Her pity crying and admission that the scandal, and losing her job, was partially her fault (rather than Sosuke), makes her toxicity that much worse. She is an awful character who treats others poorly. Even her friend, Chris Fukunaga (voiced by Yuusuke Nagano), tells her to not guilt-trip Sosuke. He adds that it is her sole fault her grades sucked. Whether she reforms herself, takes responsibility for her actions, understands her harm, and doesn’t cause any further harm, or not, hopefully she is out of Sosuke’s life for good.

The Skip and Loafer series finale wraps up loose ends. President Hiroto gets more depth. He tells Takamine that he was expected to be the best from an early age. His family had high standards for success. This causes Takamine to develop a crush. As the school festival ends, there is a touching scene in which Sosuke and Mitsumi realize how much they mean to one another. Mitsumi is undoubtedly more in love with him than ever. She closes out the episode, encapsulating her story of wanting to become a government official in her hometown, and how she got there.

The show’s colorful and vibrant animation really sticks with you. Some series are flat and don’t have expressive animation. Skip and Loafer is the exact opposite of that and has a distinct art style. As such, the series is that much more appealing.

The same can be said for the series’ voice actors. The voices of Mitsumi, Sumi, Sosuke, and Nao, who are Tomoyo Kurosawa, Sumire Morohoshi, Akinori Egoshi, and Mitsuki Saiga respectfully, are talented. Kurosawa is known for her roles in Cutie Honey Universe, Astra Lost in Space, BanG Dream!, and Wandering Witch: The Journey of Elaina. 

Murohoshi lent her voice to characters in series such as Princess Jellyfish, Little Witch Academia, and Violet Evergarden. Egoshi has voiced characters in Shirobako, Kino’s Journey: The Beautiful World, Fruits Basket, and many others. Saiga is known for roles in Cowboy Bebop, R.O.D the TV, Maria Watches Over Us, Ouran High School Host Club, and Yurikuma Arashi.

Minami Tsuda, Yuka Terasaki, Maaya Uchida, and Megumi Han, who voice Takamine, Egashira, Yuzuki, and Makoto, have done many recognizable roles. Tsuda voiced Mei Aihara in the ever-controversial Citrus, Terasaki voiced Babel in Gargantia and Akari Hyūga in Bloom Into You, and Uchida lent her voice to Sharo Kirima in Is the Order a Rabbit?, Catarina Claes in My Next Life as a Villainess: All Routes Lead to Doom!, and countless others.

Han has voiced characters in series such as Komi Can’t Communicate, RWBY: Ice Queendom, The Dangers in My Heart, and Oshi no Ko. Junya Enoki and Minako Kotobuki, the voices of Hiroto and Ririka, are known for roles in anime such as Heroines Run the Show, Wandering Son, and Your Lie in April.

The last frame of the final Skip and Loafer episode says, “see you tomorrow”, implying a possible continuation. If a second season for the series was ordered, which is unlikely, romance between Sosuke and Mitsumi will blossom. The same may be the case for the bond between Makoto and Yuzuki, possible growing feelings that Takamine has for Hiroto, and other relationships between characters. In the process, Mitsumi’s trans aunt, Nao, will likely have a significant role.

Skip and Loafer can be streamed on Crunchyroll and is available for purchase on Prime Video.

© 2023 Burkely Hermann. All rights reserved.

Tokyo Mew Mew New Season 2 Spoiler-Filled Review

Tokyo Mew Mew New is magical girl anime. It is a reboot of the classic 2000s series, Tokyo Mew Mew. It is based on a manga series of the same name written by Reiko Yoshida and illustrated by Mia Ikumi. This series is produced by Yumeta Company and Graphinica. Takahiro Natori directs this anime. As a warning, this review will discuss attempted murder, sexual harassment, assault, electrocution, and other disturbing themes.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the thirty-ninth article I wrote for Pop Culture Maniacs. This post was originally published on July 9, 2023. Note: I added a warning at the beginning here. I foolishly did not add it to the original on PCM and regret not doing so.

The first season of Tokyo Mew Mew New introduced protagonists Ichigo Momomiya, Mint Aizawa, Retasu/Lettuce Midorikawa, Bu-Ling Huang, and Zakuro Fujiwara. Each is magically granted animal-like powers from endangered species, which they use to fight the extraterrestrial forces of evil, becoming the Mew Mews. All the while, they juggle their personal lives and try to hide their magical girl forms, even from those they love deeply. This is complicated by the fact that some individuals, such as the villain Quiche (voiced by Nobuhiko Okamoto), engage in repeated romantic advances.

Like other magical girl series, such as Cardcaptor Sakura, Little Witch Academia, and Revolutionary Girl Utena, there is yuri subtext in this series. Mint (voiced by Mirai Hinata) has a crush on a professional model and actress, Zakuro (voiced by Momoka Ishii). However, the romance that takes center stage is between Ichigo (voiced by Yuki Tenma) and her boyfriend, Masaya Aoyama (voiced by Yuma Uchida). Repeatedly, she attempts to hide her secret identity from him.

Tokyo Mew Mew New is like Sailor Moon, and anime-inspired series such as LoliRock, because the villains are often unsuccessful, despite their taunts and brazen plans. The Chimera Animals, parasitic “aliens” which change animals into monsters, have a similar effect as removal of Silver Crystal shards in the first season of Sailor Moon. When removed, any living thing turns into an evil creature, which attacks the heroes. The Chimera are also different from the Daimon seeds in Sailor Moon S. The latter manifest themselves in beings which try and steal the “pure heart crystal” of those targeted.

This season intensifies the drama from the first season, with Aoyama pulled more into the action. At first, he has visions of Ichigo crying, disturbing him. He is later implied to be the Blue Knight, a hero-of-sorts who saves Ichigo and the other Mew Mews. In some ways, this makes him akin to Tuxedo Mask, who “saves” the Sailor Scouts throughout much of Sailor Moon. The Blue Knight’s identity is later revealed, which will be examined later in this review.

Romantic tropes are integral to Tokyo Mew Mew New, especially when it comes to Ichigo’s feelings for Aoyama. Quiche attempts to interrupt this with unwanted advances. This disrupts the plans of his fellow villains to end humanity. His actions are paralleled by Ryô Shirogane (voiced by Yūichi Nakamura), a head of the Mew Mew Project, along with Keiichirô Akasaka (voiced by Yusuke Shirai). He kisses Ichigo multiple times, without consent, in his cat form. This allows her to turn back into a human. In addition, there are one-sided romantic feelings of Lettuce (voiced by Ryōko Jūni) toward Ryô. The latter believes saving the world is more important than romance. Bu-Ling also has feelings for Tart, which he somewhat reciprocates.

In the process, the series makes clear that possessive and controlling relationships are wrong. Such relationships are executed better than the abusive relationship in Steven Universe between Lapis Lazuli and Jasper. Both Gem warriors are fused together as Malachite from the end of season 1 to the beginning of season 3. In Tokyo Mew Mew New, toxicity is plainer. Quiche calls Ichigo his “toy” and wants to “play” with her, even though she rejects this outright.

This is complicated by the fact that Aoyama asks Ichigo to wear a bell so he can hear her. In many ways, this is possessive. Ichigo seems ok with it. She never takes off the bell, even though it marks her as the “property” of Aoyama. In the series itself, this is addressed, to an extent, but never directly. In contrast, Ryô founded the Mew Mew Project after his home in the U.S. was burned down by monsters, as shown in the eighteenth episode. He is kinder to Ichigo and respects her relationship with Aoyama even though he occasionally messes with her.

The series shares, tangentially, similarities with Is the Order a Rabbit? and Yuri is My Job!. Both are primarily set in cafes, as is Ouran High School Host Club. The difference is that the cafe is the headquarters of the Mew Mews. It has some characteristics of a front organization. This sets the series apart from oft headquarters of superheroes, such as the secret hideout in DC Super Hero Girls, which is under an ice cream shop.

There is a strong camaraderie between the show’s protagonists. They provide a leg up for one another if one of them is down or needs encouragement. In fact, Zakuro brings in the other Mew Mews to her music video stage set so that she can embody her true self. After she transforms, the video’s director, familiar with her, recognizes that Zakuro is a Mew Mew. She is one of the only people who knows the true identity of the Mew Mews.

Environmental themes, especially human pollution of the ocean, and human-induced climate change, are central to Tokyo Mew Mew New. Ichigo, Mint, Lettuce, Bu-Ling, and Zakuro each transform into different animals, either a cat, monkey, bluebird, mermaid, or wolf. They all have specific powers. As it was stated in the sixth episode, they were chosen by Ryô and Keiichirô without their permission, even though the effects are life changing.

This lack of permission flies against the principle of informed consent. Ryô and Keiichirô’s actions plainly violate Article 7 of the International Covenant on Civil and Political Rights. Japan is currently a party of that treaty, as of September 1979. The treaty states that no one should be subjected “without his free consent to medical or scientific experimentation.” If there was a court, and this series happened in real-life, Ryô and Keiichirô might even be questioned before the United Nations Human Rights Committee. Both would, probably, argue that the requirement of informed consent would be waived, especially if they were brought before the International Court of Justice, since conventions are considered part of international law.

Aoyoma worries about human destruction of Earth constantly. Mint uses her technological expertise to build devices to clean up pollution, like a home wind generator. In the latter case, she reconciles with her brother Seiji Aizawa (voiced by Akira Ishida), after he tells her that each person has their own path to walk. He builds, presumably with her assistance, automated water-cleaning robots, fueled by refuse. In the real world, incinerators, which are popular in Japan, reduce the amount of original waste. However, incinerators also contribute to air pollution and are harmful to human health. People of color are disproportionately impacted. Incinerators are built in communities deemed unable to fight against them, a manifestation of environmental racism.

If this isn’t enough, the villains (Quiche, Tart, and Pie) of Tokyo Mew Mew New aim to create environmental disasters. They attempt an eruption of liquid hot magma  through the Earth’s crust and destroy Tokyo, mind control rabbits, and take over a trash-cleaning robot. The latter is the most successful. It creates a red tide, otherwise known as a  “harmful algal bloom“, in Tokyo Bay, making it uninhabitable for aquatic life. The damage is stopped by Lettuce’s use of Mew Aqua. She risks her life, swimming through toxic, polluted water to save the day.

In a manner which reflects other female protagonists, like Adora in She-Ra and the Princesses of Power, Rosemary in High Guardian Spice, and Korra in Legend of Korra, Ichigo believes that she isn’t doing anything to help. She begins to doubt herself and starts questioning her purpose, even her relationship with Aoyoma. This is coupled by her wondering whether if there is anything else she can do. When she learns the reality about Aoyoma, as I’ll explain later in this review, this all changes.

At one point, Lettuce ends up in a strange society comprised of pointy-eared people. She meets Madeline and Chiffon. The latter wants to leave before the island society is flooded, while former does not want to leave. This tale warns of environmental destruction. It reminds me of the 10-episode sci-fi cyberpunk adventure series, Sherwood. In that series, Robin uses a gauntlet to fight against the Sheriff and his allies, in a futuristic Britain beset by environmental disaster. In Tokyo Mew Mew New, Lettuce helps, creating a water bridge, allowing Chiffon and Madeline to confess their love. Madeline thanks Lettuce for pushing her to express her feelings.

There are some parallels to the amazingly animated yurish anime The Aquatope on White Sand. The latter has romantic undertones between protagonists Kukuru Misakino and Fuuka Miyazawa and magical realism. That series strongly focuses on sustainability, environmentalism, and a small community where everyone is close. The aquariums, whether Gama Gama or Tingarla, bring people together and granting almost supernatural visions.

Tokyo Mew Mew New shares themes with Squid Girl. The latter series is centered on Squid Girl, a humanoid girl who vows revenge on humans for ocean pollution. She is forced to work at a small restaurant by the beach after she breaks a hole in a wall in an attempt to show her power. In an interesting coincidence, Squid Girl was animated by the same studio which produced The Magical Revolution of the Reincarnated Princess and the Genius Young Lady!

Other series have environmentalism in their cores. The ever-controversial gen:LOCK describes the poor as making “peace with climate death”. In one episode, New York City faces a deluge of water, with a character lamenting the city’s inevitable destruction. Similarly, Gargantia on the Verdurous Planet is primarily set on an interlocking fleet of ships on a planet entirely covered by ocean. It takes place many years after a climate catastrophe and somewhat resembles the 1995 Hollywood film, Waterworld. Tokyo Mew Mew New is different from all these series. It is a magical girl series front-and-center. The others fall into dramatic, isekai, mecha, science fantasy, comedy, and slice-of-life genres.

As a person who indexed declassified U.S. government documents about climate change last year, even writing briefing books on the U.S. pursuit of military exemptions to the Kyoto Protocol and the Pentagon’s integration of national security policy with environmental policy, my interest in the series was heightened. The environmental themes drew me in. This was enhanced by my personal views as a person who has been vegetarian for over seven years.

Unfortunately, this series does not feature any vegetarian or vegan characters. The latter are prominent in Avatar: The Last Airbender, DC Super Hero Girls, Legend of Korra, The Simpsons, Nadia: The Secret of Blue Water, But I’m a Cheerleader, Lore Olympus, and Runaways. This is a bit of an oversight (and lost opportunity). Lettuce’s connection with the water, her name, and her green theme color would easily fit with her character being vegetarian or vegan.

The last half of Tokyo Mew Mew New season 2 turns everything on its head. For one, Ichigo admits to Aoyoma that she is a Mew Mew. The Blue Knight saves her, after a peaceful lunch is interrupted by Quiche. This takes a lot of courage. It shows that she is being honest and open with him, by not hiding anything about herself from him. By the eighth episode, everyone at school knows Ichigo and Aoyoma are a couple. Both hold hands without batting an eye.

Although Quiche is horribly injured by the Blue Knight, his claim in the seventh episode, that Aoyoma will awaken soon is eerie. His attempt to separate Ichigo from Aoyoma seems wrong and twisted. However, he has a reason behind it, as does his kidnapping of her on multiple occasions. It isn’t unexpected.

Unsurprisingly, Ichigo rejects his declaration that she abandon Aoyoma and his romantic advances. One of the biggest reveals follows: Aoyoma is the Blue Knight! In some ways, his memories are split due to his dual personality, like Yukito Tsukishiro / Yue in Cardcaptor Sakura. He is shocked when he sees the villains bowing to him, declaring that he is their leader, and that they will follow him no matter what. While they depart, their action implies that something sinister is going on.

I liked the character development in Tokyo Mew Mew New between Mint and her brother Seiji. At first, she is under house arrest because it is “dangerous” to leave the mansion. She is able to convince Seiji to let her leave, after unplugging the computers he is using for his workplace. Once she transforms in front of him, he recognizes her determination and states that this drive will make her a good businesswoman. His statement may be foreshadowing what happens following the end of the series and some fans may use it in their fanfictions.

The imagery of a toxic blimp, which traps Tokyo with a greenhouse effect, alludes to greenhouse gases, and to climate change. It differs from the climate change catastrophes depicted in Waterworld, Blade Runner, The Day After Tomorrow, Snowpiercer, Blade Runner 2049, and The Day After Tomorrow. The toxic blimp and devastating environmental effects aren’t like Dune, The Wind from Nowhere, The Drowned World, The Burning World, and many other climate fiction stories, either.

The ninth episode of Tokyo Mew Mew New is one of the most intense. This isn’t because the Mew Mews try to get Mew Aqua to purify the toxic cloud, nor is it due to the revelation of Aoyoma as the Blue Knight. Rather, it is the realization of the villains’ ultimate plan: awakening of Deep Blue, after Quiche pushes him over the edge. It is further stated that his previous two identities, the Blue Knight and Aoyoma, were “false” and “fake”.

I am suspicious of the story the villains tell the heroes. They claim that they settled the planet first, then the humans came in later, polluting it. Is there something being left out? Apparently, the story that Lettuce experienced, by accident, was the reality of the villains’ ancestors. But no other proof is given, apart from this being implied.

As would be expected, the Deep Blue reveal internally destroys Ichigo, putting her in a state of shock. Ryo and Keiichiro are angry that they didn’t figure out the identity of Deep Blue sooner. Understandably, Ichigo is so broken up that she even hurts her friends in the process. What isn’t directly addressed are the implications of this reveal. For one, the possessiveness that Aoyoma has over Ichigo may be an outgrowth of his Deep Blue form. It puts their relationship in a negative light as a result.

Furthermore, Deep Blue is more extreme than the other villains. He declares that humans need to play for their sins, as Tokyo begins to fall apart, as the city experiences destruction at the equivalent of a huge earthquake. Tar-Tar and Quiche even rethink their roles. The final battle between the Mew Mews and the villains reaches a fore by the end of the 11th episode.

Predictably, the other Mew Mews make Ichigo feel better, as do Ryo and Keiichiro. They act as her chosen family. Mint even slaps Ichigo on the face and tells her to pull herself together. This helps them to unite against the villains.

The battle between the Mew Mews and the villains reaches a fever-pitch. They enter the villains’ lair, so they can get the last Mew Aqua, to stop the evil plan. There is even a lovely scene in which Mint and Zakuro tag-team against a villain. Tar-Tar turns to the “good side” after Ling declares that she loves him. All of this is topped by the intense confrontation between Deep Blue and Ichigo. The hatred of Deep Blue comes out when he electrocutes Ichigo, causing her intense pain.

Everything changes when Quiche comes to her rescue. He ends up dying in the battle against Deep Blue and kisses her on the cheek. It seems that viewers of Tokyo Mew Mew New are supposed to sympathize because he did the “right thing” in the end. I am unsure. Quiche seems like a demented villain, to say the least.

Quiche claims he wants to save Ichigo after the world is destroyed. On the other hand, he kidnapped her, attempted to murder her, and tried to mentally manipulate her. He even puts a lightning-filled cloud over Tokyo, which cuts it off from the rest of the world, turning it into a heated greenhouse. Additionally, he is a sexual harasser and assaulter of Ichigo. That can’t be forgiven.

To make matters worse, the last Mew Aqua is within Aoyoma. Although he comes to his senses, saying he will kill himself to take out the substance, Deep Blue takes over. He says he won’t allow it and strangles Ichigo in response. In the series finale of Tokyo Mew Mew New, he declares that Aoyoma doesn’t exist. The Aoyoma inside him fights back to such an extent that Aoyoma is expelled from the body.

In the ensuing battle, Ichigo, while being electrocuted with black lightning, defends all of humanity by herself. Deep Blue says that humanity needs to be killed so that others can live. Ichigo pushes for a compromise with “aliens” and humans coexisting. She notes her inspirations, which include Aoyoma, and sways Deep Blue.

In one of the most tragic parts of the episode, Pie makes clear his deeply held dedication to the imperialist ideology, formerly espoused by Deep Blue. He stabs Deep Blue through the chest after he states that they will no longer destroy humanity. As a result, the gateway to the “alien” home world opens, beginning their invasion.

Luckily, Deep Blue, who has transitioned back to Aoyoma, survives. He works with Ichigo to reverse damage to Earth. He also returns life to the “alien” planet, making it habitable once more. With this, I see parallels to Steven’s magical spit healing the world after Spinel almost killed everyone on Earth in Steven Universe: The Movie, or when Rapunzel used her magical hair to bring Cassandra back to life in the series finale of Rapunzel’s Tangled Adventure.

In Tokyo Mew Mew New, the combined power of Ichigo and Aoyoma resurrects Quiche, Tar-Tar, and her Mew Mew comrades. It appears that Aoyoma dies for a better world, with a tearful Ichigo giving him the bell around her neck, his first present to her. In an almost Disneyesque moment, her tears bring him back to life, and they kiss one another.

The episode ends with everyone getting a happy ever after. The now-former villains return to their home world. Tar-Tar is later shown staying with Ling and her siblings. Zakuro has a Mew charity concert, Lettuce works at a museum about the ocean, and Mint founds her own corporation. In one of the last scenes, the Mew Mews give Aoyoma a nice send off before he goes abroad. Ichigo declares she is grateful for everyone and says she can do anything she sets her mind to.

Despite this happy ending, I am unsure whether Aoyoma and Ichigo have a truly healthy relationship. Ichigo is shown wearing the bell, at the end of the episode, signifying that she is the “property “of Aoyoma, so she doesn’t get “lost”. On the other hand, their relationship can be wholesome and sweet. So, it is a mixed bag, to say the least, or abusive to say the most.

The villains never suffer any consequences for their actions, or even take responsibility, as is laid out in restorative justice principles. Perhaps they are, to an extent, repairing the harm and maintaining positive relationships with those on Earth. Are any structures or systems changed? Why couldn’t the “aliens” be granted (with agreement of nearby inhabitants, of course) a place on Earth to live? This question is never answered. The ending seems to wrap up everything too nicely.

Despite the fact that Tokyo Mew Mew New has yuri subtext between Mint and Zakuro, whom Mint calls her “queen”, this is not a major theme. The anime, as I noted earlier, primarily centers on the romance between Ichigo and Aoyoma, and blossoming feelings between Ling and Tar-Tar. Even so, the relationship between Mint and Zakuro has a new dynamic, compared to that in Tokyo Mew Mew, adding depth to their relationship, which is a positive.

With Tokyo Mew Mew New, the characters exude “cuteness” in a way that is more effective than Too Cute Crisis. In that series, protagonist Liza Luna flips out every time she sees something cute, and “dies” from the cuteness. That series is enhanced when other members of Luna’s team, from the space empire Azatos, come to Earth. While there, they meet humans that Luna lives near and “cute” animals. Tokyo Mew Mew New has more of a story than Too Cute Crisis, which is a fun watch.

The latter series is a mix of glorified cat videos and the importance of proper cat/animal care. Tokyo Mew Mew New, in contrast, does not focus on animal care. Rather, it centers on personalities of characters, and their struggles. This differentiates it from well-known iyashikei anime like My Roommate is a Cat and How to Keep a Mummy. It is also distinct from any of the animated series about cats, lions, and others from the animal kingdom, like the comic (and later short film), Lackadaisy.

Another currently airing magical girl series, Soaring Sky! Pretty Cure, has similarities to Tokyo Mew Mew New. In the former series, the protagonists are given tones, allowing them to transform into magical girls and fight villains. Although they are chosen as heroes, they have more of a choice than the Mew Mews, whose role as heroes is hoisted on them, without any consent.

Apart from these comparisons, the series shines through in its voice acting. Some, like Mirai Hinata, Momoka Ishii, and Rian Toda are new to voice acting. Others, like Ryōko Jūni, Yuki Tenma, Daiki Yamashita, Kaori Ishihara, Yūichi Nakamura, Yuichiro Umehara, Yūma Uchida, and Yusuke Shirai have experience lending their voices to many series. This includes Cue!, Taisho Otome Fairy Tale, Turkey, Blue Period, Shine Post, Too Cute Crisis, Edens Zero, Teasing Master Takagi-san, Macross Frontier, Miss Kobayashi’s Dragon Maid, I’m the Villainess, So I’m Taming the Final Boss, and Sasaki and Miyano. The talents of these actors are put to good use in this series, making it more of an enjoyable watch.

The same can be said for Yoshida, who wrote Tokyo Mew Mew, and others on the show’s staff. Yoshida was a script supervisor for the first, third, and fourth seasons of Maria Watches Over Us. She also worked as a supervisor of scripts on K-On!. Yoshida has experience working on series in the iyashikei, comedy, and food genres, such as Tamayura, Non Non Biyori, and Deaimon. It is not known whether she worked on this series or not, but her influence is still present.

Other than Yoshida, the show’s composer, Yasuharu Takanashi, has done music for various anime series, films, video games, and additional media. The director of Tokyo Mew Mew New, Takahiro Natori, worked on Gosick and Tamayura.

Graphinica, one of the two studios which animated this series, is newer. Only established in 2009, it recently did animation work on Cue!. Yumeta Company, the show’s other studio, is 19 years older. It did animation production for Tamayura: Hitotose, two YuruYuri OVAs, and Cannon Busters. The company collaborated with Graphinica on Cue!

In the end, I will remember Tokyo Mew Mew New for its occasional yuri subtext and strong environmental themes, beyond many other series I’ve seen, whether anime or Western animation. It may be some time before I come across another series that is as environmentally focused as this one.

The first two seasons of Tokyo Mew Mew New are currently streaming on HIDIVE and Spectrum.

© 2023 Burkely Hermann. All rights reserved.

Review box: Animation: 5 Voice Acting: 5 Music: 4 Story: 4 Overall: 4.5

 

Birdie Wing: Golf Girls’ Story Season 2 Spoiler-Filled Review

Birdie Wing: Golf Girls’ Story is an original (wild) golf anime directed by Takayuki Inagaki, with Yōsuke Kuroda as the series writer. The series is produced by Bandai Namco Pictures, a subsidiary of Bandai Namco Filmworks. The first cour/season of Birdie Wing aired from April to June 2022, and the second season/cour aired from April 2023 to June 2023.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the thirty-eighth article I wrote for Pop Culture Maniacs. This post was originally published on July 2, 2023.

The first season of this off-the-wall anime centered on Eve (voiced by Kito Akari), a spunky teenage girl from the slums of Nafrece who illegally golfs for money, and a rich Japanese girl named Aoi Amawashi (voiced by Asami Seto), who matches her determination and skill. That season showed that this anime is more than a sports story, which are common these days, with wild underground golf games against organized crime bosses obsessed with solving issues through golf.

Diversity is central to Birdie Wing. Heavy issues like undocumented immigration, corrupt urban renewal, political corruption, and racial injustice are brought to the forefront. Unsurprisingly, yuri subtext is abound in this anime, primarily between Eve and Aoi, especially during their golf games against one another, or together.

The second season picks up where the first one left off, with magical girl-esque golf drives by Eve and Aoi, and continued ridiculousness. This series is more mature than many Western animations. It is even more intense and relatable than the previous season, with Eve remaining at a prestigious Japanese golf academy in the first part of the season. It does this while flaunting rules of the sports genre, mixed with well-placed comedic moments.

Surely, there are terrible women in Birdie Wing, but others are more relatable. In many ways, this series makes the elitist sport of golf interesting to watch. The series goes above and beyond other sports anime focused on girls. The plot and characters remain compelling. The talented crew and cast allow the series to excel. This season went a different direction than I had anticipated in my season one review: that Aoi would lose her privileges, that Eve would become a subservient golf supersoldier doing the bidding of the golf-obsessed Mafia, and that Eve would remain in Japan.

In fact, Aoi never lost her life of privilege while Eve did not remain in Japan. It is heavily implied that she has romantic feelings toward Aoi and vice versa. The first few episodes of the second season show Aoi making mistakes. But Eve did not kiss her since promised to only do so if Aoi did well. On the other hand, Eve’s repressed memories began to come back when she did one of her golf power moves, revealing her true identity.

Unlike season one of Birdie Wing, the physical toll of playing golf, at this intense level, is a major theme. At the beginning of the season, Aoi gets a headache and her playing suffers, with Eve filling in for her. Aoi collapses because of the stress she is under. Predictably, Eve declares she will “kill” her opponents in golf. Otherwise, there is a connection between the condition of Aoi’s father, and her condition, with the latter a result of overwork.

I liked how the series seemed to imply that Eve and Aoi were half-sisters, then demolished this idea with an absurdly complex web of relationships between the show’s characters. It turns out that Leo Millafoden (voiced by Shūichi Ikeda) taught Eve golf at request of Eve’s real father, Kazuhika Hodoka (voiced by Kousuke Toriumi). The latter was in a relationship with Eleanor Burton (voiced by Yuko Minaguchi). He later married Aoi’s mother, Seira Amawashi (voiced by Yūko Kaida), after she was pregnant with a baby from another man: Reiya Amuro (voiced by Tōru Furuya). Reiya later became a coach of the golf academy which Aoi and Eve attended.

In an intriguing twist, it is revealed that Eve doesn’t remember her past because of amnesia. A cruise liner crashed, killing her mother and father, and countless others. When she woke up from the accident, she didn’t remember anything, not even her name. So, there wasn’t any human experimentation, as I had thought before. Instead, she grew up in the slums. Klein Clare (voiced by Sayaka Kinoshita), Lily Lipman (voiced by Akira Sekine), and others in Nafrece take her in and raise her.

The arc in the first few episodes of Birdie Wing‘s season 2, with Aoi and Eve playing together, ends abruptly. Seira incorrectly believes that Eve is “bad news”. She plans to expel Eve from the country, in an effort to “protect” Aoi, in a decision based on faulty information “proving” Eve is tied to the Mafia. The “deportation” of Eve, as some fans termed it online, results. She is pressured to quit school, kidnapped, and brought to an airport, then told to leave Japan “or else”.

The definition of deportation in U.S. law is simple. It refers to the removal of a foreigner from a country. In legal terms, such foreigners have a presence which is “deemed inconsistent with the public welfare and without any punishment…imposed or contemplated”. In contrast, expulsion is removal of a person or people, by a governmental act/dictate/declaration, from a territory against their will. A successful expulsion is deportation.

Eve wasn’t pushed out of Japan by a government official or agency. As such, it is either forced migration, forced displacement, or forced relocation. Even those terms don’t fit, since the latter applies to people persecuted for one reason or another. On the other hand, what happened to Eve is likely is a form of displacement, which can be caused by conflicts, disasters, development, criminal organizations, political entities, and conflicts.

Moreover, it is accurate to say Eve was displaced, but not deported, as no government official forced her on a plane. Eve left the country of her own free will, although the driver threatened her with violence. This analysis is further confirmed by looking at definitions of “deportation,” “expulsion,” “immigration,” “immigrant,” “emigrant,” “emigration,” “alien,” and “illegal alien” in the Third Pocket Edition of Black’s Law Dictionary which I have on hand.

By these definitions, Eve would be an “alien”, and technically an “illegal alien”. She has a passport, but a fraudulent one. It is, ultimately, questionable whether she was deported or expelled, as there isn’t enough evidence to say definitively that she was compelled to leave.

Eve’s return to Nafrece results in a big reunion. She meets Vipere (voiced by Kaori Nazuka), who she calls the “snake lady”, along with her partner-of-sorts, and visits her parents’ grave. In a possible commentary on reality of the golf world, she gets sponsored by the Burton family, thanks to former pro golfer Alan Harvey (voiced by Shigeru Ushiyama), allowing her to achieve her goals. She uses her golf skills to destroy her opponents and re-firm support of the Burtons, which may have Mafia connections, in her.

The self-made and ever-changing golf course of Mafia boss Catherine (voiced by Umeka Shouji) reappears with gusto, in a callback to the first season of Birdie Wing. In order to win against Catherine’s golfer, Remelda (voiced by Marina Inoue), and possible lover, the caddy of Eve, Ichina Saotome (voiced by Saki Fujita) joins her. In a leap of faith, she even quits school, at the request of Eve, so that she can offer the best advice possible. The savvy well-versed and knowledgeable caddy of Aoi, Amane Shinjō (voiced by Ami Koshimizu) does the same, in a parallel to Ichina’s actions.

In many ways, Ichina brings realism to the situation. She realizes the danger in going against Catherine, through her golfer, Remelda, on a golf course that uses an absurd amount of power and energy. Even a hydroelectric dam overflows so the course can move with incredible speed. Ichina is rightly terrified after Catherine threatens Eve with a gun. She puts her hands up in fear. Eve is used to her life being in danger and easily shrugs off the threat. At first, Ichina seems like one of the only people in this series who is above the absurdity. As such, she doesn’t recognize what Eve sees: that the course is a place filled with “money and greed”. Nor could she ever do golf shots which have a ball skip across the water to get to its target!

Eve’s victories are paralleled by what Aoi was doing, although there are entire episodes of Birdie Wing‘s season 2 where Aoi barely appeared! I liked that Aoi had her skill on the decline when Eve isn’t there, but builds herself back up. The connection between Eve and Aoi remains, even if they aren’t directly talking to one another.

Time and again, Eve doesn’t waste any time deeming women as “bellissime“, including Remelda, who she plays during the second season, and likely others as well. She even didn’t mind when Ichina seemed to have a crush on her, with Ichina declaring that she’d be Eve’s caddy “for life”. She may even have some feelings for Aisha Khambatta, who faces Eve later in the second season. Assisted by Leo, Aisha is a person that Eve describes as “incredibly dangerous”.

The focus on found and chosen family is a big part of Birdie Wing‘s story, especially for Eve. Once back in Nafrece, she happily greets Klein, Lilly, and their adopted daughters. Thanks to the actions by Vipere, in season one, they all have legal status in Nafrece! As for Aoi, she has a chosen family as well, represented by assistance from her father, and her loyal caddy, Amane.

Although Seira later supports Aoi, she outs herself as a terrible parent when Aoi travels to a contest where plays Eve, and perhaps golf, for the “last” time. She forced/strong armed Amane to becoming the caddy of Aoi in the first place! Later, Amane decides to stay with Aoi, as her caddy. She does so even though she is no longer forced to do so, as an act of her own free will, indicating her power as a character. She may even have a crush, to some extent, on Aoi.

Birdie Wing is even more compelling when Aoi does her own golf power moves. She calls them Shining Shots, like Eve with her “rainbow bullet”, “blue bullet”, and so on. The absurdity of Aoi winning because of rain, over her opponent, Shikishima, in a game the announcer declares will go down in Japanese women’s golf history, says more about the series than anything else.

The final episodes of the second season push Aoi and Eve to the brink, but especially Eve. She begins to suffer from the physical demands of golf, more than ever before, especially after she does her rainbow burst, combining the styles of Leo and her father. This is the “terrible price” she plays for this form of golf. This makes clear that neither Eve nor Aoi are invincible. They are as fallible as the rest of us, even if they don’t want to show “weakness” on camera.

This reminded me of similar themes in Carmen Sandiego. Although Carmen appears to have strength and energy to do everything, this is only based on her own training. She has a terrible wipe out in the episode “The Stockholm Syndrome Caper”. It causes her almost life-threatening injuries that she has to recover from. Kim Possible in the series of the same name is similar. She is a cheerleader and uses her skills to fight villains and “save” the world. She is not invincible either.

More than any other character in Birdie Wing, apart from Aoi, Eve is a lesbian icon. She only has eyes for other girls and never for any men, whatsoever. Not even Sumire Heanna in Love Live! Superstar!!, Mari Ohara in Love Live! Sunshine!!, or Nijika Ijichi in Bocchi the Rock! compare to Eve, in the slightest.

Eve might only be rivaled by badass huntress Yang Xiao Long in RWBY. Yang can go super saiyan if she wants and is deeply in love with catgirl Blake Belladonna. Hime Shiraki in Yuri Is My Job! or Anisphia “Anis” Wynn Palettia in The Magical Revolution of the Reincarnated Princess and the Genius Young Lady are other “rivals”.

The final episodes of Birdie Wing‘s second season are some of the strongest. Eve’s body can’t sustain the pressure from her intense golf. She even gets acupuncture from Allen Harvey so she can use her Rainbow Burst without grievously hurting herself. Aoi perfects her golf and apologizes for letting everyone down.

The various health issues Aoi experiences don’t stop her. She suffers from an awful genetic disease (Tuberous Sclerosis Complex). There are nice montages of both engaged in physical training to make their bodies stronger. They prepare for their match at the Bandai Namaco British Women’s Open the following year.

It is powerful for the final episodes of Birdie Wing to center a Black woman, Juha Hamilail (voiced by Yuu Asakawa). She previously had been hinted in the show’s opening sequence. In the next-to-last episode, she comes into her own. She plans to take the British Open for herself, putting her face-to-face with Eve and Aoi. Eve expresses the annoyance of yuri fans who may see Juha as a hindrance and believe Juha should get out of the way.

On the one hand, it seems strange, and possibly racially tinged, that the obstacle which impedes the protagonists is represented by a Black woman. Even so, she is not an evil character. Rather, she is out for herself. She believes that the unexpected always happens in golf, making it fun. She expressed this directly in the 24th episode, to her caddy, Karen Lapana (voiced by Shizuka Itou). Juha is a strong and gorgeous final boss, of sorts, making the series that much more dramatic.

The latter is like how Aoi feels. She enjoys playing golf with Eve, even though she can barely hold it together. This fallibility is clear when she collapses in the same episode, causing Even to shake her and cry. Not long after, she falls once again. She asks a higher power to give her one more chance to fulfill her promise to Eve.

The role of the two other caddies, Amane and Ichina, come to a fore in the next-to-last episode. For instance, Ichina gives Eve advice on how to get birdies and keep pace with Aoi. Amane helps prop up Aoi, who is faltering. Eve and Aoi express their feelings, in their own way, to another, seeing the golf skills each of them can do. This is something that Juha recognizes, remaining jealous that each of them has a rival which drives them to improve.

Birdie Wing, is, as well-known yuri reviewer Erica Friedman put it, “the shounest anime about women’s sports ever made”. As such, Eve, Aoi, nor none of the other characters goes the route of golf shown in The Phantom of the Open, or in various other golf manga and anime over the years. There are so many of the latter that “Golf in anime and manga” is a Wikipedia category!

The final episode shows Friedman to be right. Even after Aoi collapses and is taken off the field, Juha keeps swinging her golf clubs. Eve, for her part, openly defends Aoi. Eve visits Aoi in the hospital. To make this even more absurd, she declares their game is still on even though Aoi isn’t actively playing her! One of the best parts of the episode is the surprise twist: Aoi cuts her hair and serves as Eve’s caddy. Even though they don’t win, thanks to sneaky and corrupt shenanigans by Karen, they still go out with a bang. Eve even uses Aoi’s golf clubs. She has a new golf move, which combines her skills with Aoi’s golf strike. It is named the Shining Rainbow Burst. Of course, her human body can’t take all the strain and Juha ends up winning.

In more ways than one, Karen acts like a Karen: she slyly leaks to the media. She received the damning information, from Remelda, “proving” that Eve has Mafia connections. Although this rumor is false (as Eve no longer has such connections), it leads to an investigation. Her professional license is suspended for three years by the golf association! Juha shows a bit of a backbone, for the first time. She doesn’t approve of these slimy tactics against Eve. Strangely, she doesn’t fire Karen. She lets Karen be her caddy for the rest of the game. After all, she didn’t even a bat an eye, and kept playing at full speed after Aoi collapsed. Unsurprisingly, neither Karen nor Remelda faces any consequences for their actions.

The final episode of Birdie Wing ends strongly. In the first time skip, set three years later, Eve begins training with her caddy, Ichina, at a golf course in Japan. This happens after Ichina says she won’t be a caddy for anyone else because she is Eve’s personal caddy. Then, there is yet another time skip, with Eve and Aoi finally facing one another during a golf tournament. It appears that the affliction Aoi suffered from is cured and their scores are close. There is even a great scene showing all of Eve’s sisters, from her adopted family, all grown up, and are now teens. The series closes positively, with Eve doing her Rainbow Bullet golf strike and viewers can see the bullet going through the sky, as the credits continue to roll.

Although there, sadly, wasn’t a kiss between Eve and Aoi, the series was filled with gay subtext. While some may call it yuri-bait, it is more charitable to describe it as yuri subtext. In any case, the show was a fun ride. It wrapped up far too quickly, with many time jumps. Despite this, the ending of the series makes clear that the game between Aoi and Eve continues forever. There is the implication that they won’t be apart and may even play again.

The ending could have been stronger, but I don’t detest it. There is enough space and possible storyline, especially during the two aforementioned time skips, that a third season or even an OVA could expand upon. Such a season, or OVA, could focus on Eve and Aoi, or the growing closeness between the two caddies, Amane and Ichina, shown in the final episode. There is fan support for another season, or OVA. It remains to be seen if executives think the same.

There are other praiseworthy elements of Birdie Wing. The music complements the action. It accompanies the strong, flowing animation. The two highly skilled series composers, Kōtarō Nakagawa and Hironori Anazawa, make the series that much better. The former composed music for Gosick and Chivalry of a Failed Knight, while the latter composed music for Scarlet Nexus.

Birdie Wing is nothing like any currently airing series produced by Bandai Namco Pictures, or those by Sunrise. Such series are supernatural action, mecha, or military science fiction. Bandai Namco Pictures is known for Gintama, Brave Beats, and Aikatsu!. Another division of the same company, Sunrise (also called Bandai Namco Filmworks Inc.), is recognized for other series. This includes Mobile Suit Gundam: The Witch from Mercury, Love Live! Superstar!!, Love Live! Sunshine!!, Love Live! School Idol Project, Love Live! Nijigasaki High School Idol Club, Tiger & Bunny, Dirty Pair, and Cowboy Bebop.

The series director, Takayuki Inagaki, worked on Fuuka, KanColle, Kokoro Library, Princess Tutu, and R.O.D. the TV. Yōsuke Kuroda, main writer for Birdie Wing, worked on Kokoro Library as well. He served as a head writer for Valkyrie Drive: Mermaid and Madlax.

The voice cast are just as seasoned and have often voiced queer characters. Akari Kito, who voices Eve, voiced magical girl Momo Chiyoda in The Demon Girl Next Door, Kanata Konoe in Love Live! Nijigasaki High School Idol Club, Touko Usagihara in Akebi’s Sailor Uniform, and Sakura Adachi in Adachi and Shimamura. Asami Seto, voice of Aoi, previously voiced Yoshino Takatsuki in Wandering Son, Charlotte Scherzen in Valkyrie Drive: Mermaid, Fena Houtman in Fena: Pirate Princess, and Nene Saionji in Yuri Is My Job!

Seto is scheduled to voice Yori Asanagi in Whisper Me a Love Song in January 2024. M.A.O. (voice of Kaoruko Iijima) will voice Kohaku in Yohane the Parhelion: Sunshine in the Mirror. The latter is a Love Live! Sunshine!! spinoff which recently premiered on Crunchyroll. The voice actor of Amane (Ami Koshimizu) voiced Yang Xiao Long in RWBY: Ice Queendom, Elda in Otaku Elf, Maria in Management of a Novice Alchemist, and Sailor Jupiter in Sailor Moon Crystal. All these characters are directly or indirectly queer.

Akira Sekine, voice of Lily, previously voiced Sora/Cure Sky in Soaring Sky! Pretty Cure and Princess Charlotte in Princess Principal. Saki Fujita, who voices Ichina, previously lent her voice to school president Mitsuki Sonoda in Sakura Trick. Sonoda had a huge crush on Haruka Takayama. Other voice actors are known for their roles in Maria Watches Over Us, Yurikuma Arashi, D4DJ, Akebi’s Sailor Uniform, YuruYuri, Strawberry Panic!, and Sweet Blue Flowers.

Birdie Wing will likely not be continued. Similar themes were likely added to the video game associated with the series. The connection to Madlax, since it is in the same universe, will remain a topic of ongoing fan speculation. I will always remember this anime fondly. It may be some time before another anime can shoot me right through, as Eve says to her opponents, like this one.

All 25 episodes of Birdie Wing: Golf Girls’ Story can be streamed on Crunchyroll. The second season can also be purchased on Prime Video or on the Microsoft Store.

© 2023 Burkely Hermann. All rights reserved.

Yuri Is My Job! Spoiler-Filled Review

Yuri Is My Job!, also known as Schwestern in Liebe! or Watashi no Yuri wa Oshigoto Desu!, is a yuri comedic anime based on an ongoing manga by Miman. 12 volumes of the manga have been printed, 11 of which have been translated into English. Passione and Studio Lings produced this series. It is directed by Hijiri Sanpei.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the thirty-seventh article I wrote for Pop Culture Maniacs. This post was originally published on Jun. 28, 2023.

The plot of this series is in line with many yuri manga: a high school girl named Hime Shiraki (voiced by Yui Ogura) cares about her outward image as a sweet and helpful person. In actuality, she is very self-centered. One day, she trips and accidentally injures the manager of Cafe Liebe, Mai Koshiba (voiced by Yukari Tamura). She is guilted into covering shifts at the cafe to keep her image alive. As such, Hime works at an establishment where waitresses pretend they are students at an all-girls boarding school. Each has their own persona. She is drawn to another waitress, Mitsuki Yano (voiced by Sumire Uesaka) who gives her devotion and love. In private, Yano seems to hate her, hence the title of the anime, “yuri is my job!”

The fakery that the waitresses exemplify is shown though characters like Sumika Chibana (voiced by Makoto Koichi). She is calm and collected as a waitress but a gyaru outside work. Kanoko Mamiya (voiced by Minami Tanaka) contrasts this. A shy girl, she is Hime’s good friend and knows Hime’s true personality. She occasionally helps Hime during their work in the cafe. This fakery is also depicted through Hime, Mai, and Yano, each in a different way.

Show director Hijiri Sanpei is known, in part, as assistant director, storyboarder, and unit director of Citrus, a problematic anime due to sexual assault, non-consensual conduct, and toxicity between the two female protagonists. Apart from a few scenes, and some fan service of Yano, this does not translate over into Yuri Is My Job! In fact, the series has more allusions to other anime. For instance, the first episode alludes to Maria Watches Over Us. The latter series is said to be sweet, witty, unique, difficult, romantic, and have strong characters.

Yuri Is My Job! has similarities in terms of appealing animation, drama, and emotional scenes. The homoerotic themes are also treated respectfully, especially when paired with self-acceptance and self-discovery. Another series that Yuri Is My Job! may be referencing is a classic 2006 anime, Strawberry Panic! It is in the Class S genre, which focuses on romantic or close relationships between girls. While Strawberry Panic! is a romantic yuri based on illustrated short stories, and set at an all-girls school, Yuri Is My Job! takes place primarily at a cafe inside a high school.

The first episode pulls in the viewer, with a poppy and bubbly opening sequence, providing viewers with a sense of the characters. As noted earlier, yuri themes are there from the get-go, in terms of Hime’s attraction to Yano, and an in-canon book entitled A Maiden’s Heart, which resembles the plot of Maria Watches Over Us. This includes an older “sister” (Yano) putting a cross, on a necklace, around the neck of their younger “sister” (Hime). Adding to the confusion, Sumika appears to flirt with Yano.

At first, Hime appears to be a “gold-digger” only out for herself. As the story goes on, she becomes a more sympathetic character. This is clear from the close friendship between Kanoko and Hime. The latter even results in Kanoko working at the cafe after she follows Hime there. It is easy to be drawn to Hime’s side when Yano is harsh against her, especially since Yano can see through Hime’s cuteness facade.

Kanoko’s character seems unhelpful, possessive, and annoying in earlier episodes. However, her character grows over the course of Yuri Is My Job!. For one, she supports Hime unconditionally. She even wonders why Hime cares about Yano. Kanoko’s character might be lampooning the oft-trope, especially in yuri anime (and elsewhere), of the “deranged” cuckoo lesbian who has unrequited love for another woman. She may even be a yandere character.

I liked how the backstory of Hime and Yano provided insights into both characters. From that, it is easy to see both of their perspectives and how each of them could see the other as a “traitor”. This all comes to a head when it is revealed, in the fourth episode, that Yano at the cafe is the same as the one she met when she was a young schoolgirl, when they played piano together. Over time, they get over their differences and clear up their misunderstanding.

Fundamentally, Yuri is My Job! has one theme throughout: miscommunication. Characters have different ways of seeing the world. Yano is coded as autistic. Hime is driven by being approved by everyone, thanks to her facade of being “cute”. All the while, there is commentary about the yuri and class-s genres, with this series exploring expectations built into existing social interactions.

The 5th and 6th episodes of Yuri is My Job! focus on Yano and Hime being drawn to each other. They also criticize ship wars among yuri fans. In the sixth episode, some “fans” claim that Yano forced Hime to be her “sister”. As rumors continue swirling, some even see Yano as a villain. Hime and Yano end up embracing one another in a very emotional scene, leading everyone to believe they are on better terms. In the process, Hime begins catching feelings for Yano. All of this reminds me of a song in The Proud Family about beating rumors, although only tangentially.

Sumika has an even more prominent role, after she learns, at the end of the sixth episode, that Kanoko is obsessed with Hime. As would be expected, Kanoko becomes suspicious of Sumika. She declares that no one will get in her way, even deeming Sumika “dangerous”. While they begin to connect, this smashes apart when Sumika states that Kanoko must drop Hime or the cafe will fall apart.

Sumika’s statement, cheered on by those who dislike Kanoko, seems harsh. However, it is rooted within interesting in-canon history. First of all, the person Sumika loved, Nene, was taken away by then-waitress Youko Gotou (voiced by Shizuka Itō), who she deems a seductress. Sumika is right to warn Kanoko that if she is too possessive, then Hime will dislike her. Even so, she is still interfering in their lives, almost as bad as the meddler in the 2015 comedy-drama film of the same name. Sumika’s thought that romance will destroy the whole cafe is naive. For one, she is totally oblivious to Yano’s feelings for Hime.

It is clear, by the eighth episode, of Yuri is My Job!, that Sumika is playing the long game. For instance, she agrees to Kanoko’s request to become her sister, in the cafe. She doesn’t realize, until later, that Kanoko is possessive of Hime because she is afraid of losing her. Kanoko is socially introverted, unlike Hime, and relies on her to ensure she can navigate social interactions. This is abundantly clear by the 10th episode.

In the apt flashback, in the ninth episode, Hime protects Kanoko from classroom bullies, the students that she deems “good kids”. Hime comforted her after classmates were nasty to her, and defended her in class. Is it any shock that Kanoko fell for Hime, her “special person”, then and there? Furthermore, Kanoko states she is the only person who knows the “true” Hime, without the facade. Her statement is incorrect, as Yano also knows the “true” Hime.

Apart from the plotlines involving Kanoko’s relationship to Hime, one of the best storylines in this anime is the Blume election. The person awarded the most votes is crowned Blume-Sama. This reminds me of the elections for the student council in Maria Watches Over Us and the Etoile election in Strawberry Panic! Like the rest of the series, jealousy and emotions run high, as does blushing. The competition between the waitresses is fierce. It is later revealed that Sumika got the most votes, with Mitsuki in second, Hime in third, and Kanoko in fourth.

The final episodes of Yuri is My Job! wrap up many loose ends. Sumika reveals to Kanoko how Nene fell in love with Youko. All the while, her belief that Kanoko will “destroy” the cafe quickly dissipates. Although Kanoko’s plan for the Blume election fails, Sumika’s beliefs are fundamentally challenged by Nene. She says that Sumika comes from a place of compassion, but that she shouldn’t dictate the love of others. This statement stands against people who position themselves as meddlers. Due to her conversation with Nene, Sumika rethinks how she should approach Kanoko.

By the 11th episode, Kanoko’s actions, which might have seemed toxic or obsessive, make more sense. Sumika learns why Kanoko is drawn to Hime. She tells Kanoko that she is hiding too much of herself after she reveals that she will never confess to Hime. This conversation indicates the character development of Kanoko since she reveals all of this to Sumika, a person who understands her concerns. She even cries on her shoulder. Following the announcement that Sumika has been elected the Blume der Liebe, Kanoko even becomes the “sister”. This appears surprising, at first. However, considering their mutual support for one another, it makes sense.

The 11th episode of Yuri is My Job! begins, in earnest, the romantic feelings between Sumika and Kanoko. Obviously both characters had feelings, to some extent, before that episode. Even so, it wasn’t until that episode that they began their “sister”/Schwestern relationship. This sisterhood is even embraced by Hime. She is glad to hear that Kanoko has another friend, causing Kanoko to blush. This connection is reinforced by the fact that Kanoko and Sumika know something about the other that no one else knows. In the case of Kanoko, she had not said aloud that she loved Hime, until she told Sumika exactly that.

I haven’t read the manga, but I have the implication, from the 11th episode, that Hime might be asexual. Kanoko specifically states that Hime has no interest in romance. She adds that Hime never genuinely loves anyone. In fact, she also calls herself Hime’s only real friend. If Kanoko’s read is correct, it would mean that Hime is possible grey ace. Also known as grey asexuality, it refers to people who are “flexible in their sexual preferences”.

Grey asexuality can roughly fall into three categories: those who are sex-repulsed, sex-neutral, or sex-positive. It encompasses a broad spectrum of identities, including demisexuality, and other terms, like semisexual. Grey ace individuals might be rarely attracted to others, only romantically attracted on rare occasions, or be sexually attracted only to certain individuals.

To take this a step further, grey ace people may have any possible romantic orientation. The latter refers to romantic attractions someone has toward other people. A person’s romantic identity is not necessarily connected to their sexual desires (i.e. sexual orientation). This can manifest in asexuality, bisexuality, pansexuality, gay identity, lesbian identity, heterosexuality, or any of the other sexual orientations out there.

This nuance is not, necessarily, depicted in this series. Even so, Hime appears to be asexual-coded. I’m not sure about the manga, but it might be the same, from the panels I’ve read. She is not alone in this. Seiji Maki in Bloom Into You has been described as an aromantic asexual. The same is said about Shōko Tanimoto in The Case Files of Jeweler Richard. In Western animation, Andy Billups in Star Trek: Lower Decks is a coded asexual character.

Other characters have been confirmed as asexual outside of their respective series. The latter includes Lilith Clawthorne in the recently ended The Owl House, SpongeBob SquarePants in the series of the same name, Peridot in Steven Universe, Alastor in Hazbin Hotel, Percival “Percy” King in Epithet Erased, and Perry the Platypus in Phineas and Ferb. Additionally, there are three asexual characters in Bojack Horseman: Todd Chavez, Yolanda Buenaventura, and Maude. Many others appear in other media, such as film, literature, live-action series, video games, comics, podcasts, and elsewhere.

More than anything, Yuri Is My Job! parodies yuri tropes and the Class S genre. The characters perform an idealized girlhood, playing on tropes of affection and intimacy for an eager audience. This is capped off by a strongly ambitious and tricky female protagonist. Unlike other protagonists, she isn’t likable in a traditional way.

In the series finale, the characters wear summer uniforms, with the change of seasons. After Yano’s uniform is shown to be “too sexy”, Hime is embarrassed to tell her the truth, while people are drawn to her breasts. This may be parodying fan service throughout anime, especially yuri anime. Hilariously, the other waitresses suggest Yano wear a cover to solve her “problem”. In the cafe, Hime defends Yano, stating she is not being lewd, but mature. She even does tasks for her, to protect her from the prying eyes of patrons. Later, to the expected blushing of Yano, Hime admits that she is jealous of Yano’s body, and says that she shouldn’t be ashamed of anything. Unsurprisingly, she subsequently chastises Hime for saying something she “doesn’t mean”, confusing Hime even more.

A growing “sisterly” relationship between Kanoko and Sumika is alluded to in the series finale of Yuri Is My Job!. At one point, Kanoko blushes when Sumika describes the beauty of Kanoko when talking about the tea they recommend for customers. Later, Sumika even encourages Hime to call the Kanoko cute, resulting her in blushing yet again. There is predictable fan service. For instance, Yano brings Hime to her chest, and buries Hime’s face in Yano’s breasts to keep her quiet. She does this throughout the series. Predictably, this makes Hime fall even more in love with her.

One of the better parts of the episode is how Hime doesn’t get her recommendation for tea correct, unlike the other workers. As a result, she leans on Yano. She teases Yano about it, even asking at one point “you must really love me, right, Onee-Sama?”. Although Yano denies that she loves Hime romantically, this is clearly a lie. She is blushing while she says she “doesn’t” love her.

The Yuri Is My Job! series finale ends happily. Hime notes that employees in the cafe (her and the other protagonists) behave elegantly, like characters from a shojo manga. After that, Yano plays the piano alongside Hime. Understandably, Hime gets the last word, welcoming people to the cafe, standing alongside everyone else.

One of the strengths of this series is the voice talent. Yui Ogura and Minami Tanaka, who voice Hime and Kanoko respectfully, are talented voice actresses. Ogara prominently voiced Kokoro in The Great Jahy Will Not Be Defeated!, Selena Burke in My Next Life as a Villainess: All Routes Lead to Doom!, Sanae Tsukimoto in Teasing Master Takagi-san, Sumika Izumino in Yurikuma Arashi, and Kokona Aoba in Encouragement of Climb.

Tanaka voiced Nako Sunao in Hitori Bocchi no Marumaru Seikatsu, Ran-Ran Oneechan in Dropkick on My Devil!, Shalsha in I’ve Been Killing Slimes for 300 Years and Maxed Out My Level, and Himeno Toyokawa in Let’s Make a Mug Too, among others.

Sumuire Uesaka, Makoto Koichi, and Yukari Tamura, who voice Yano, Sumika, and Mai, are known for their variety of voice roles. For Uesaka, this includes characters in Love, Chunibyo & Other Delusions, Girls und Panzer, Luck & Logic, Boarding School Juliet, Carole & Tuesday, Lapis Re:Lights, and Spy Classroom.

Koichi has voiced characters in Hakumei and Mikochi, Märchen Mädchen, and My Roommate Is a Cat. Tamura provided her voice for characters in R.O.D the TV, Kashimashi: Girl Meets Girl, Ouran High School Host Club, and Kin-iro Mosaic. It truly shows the voice range of Tamura, that she can voice a cafe manager in this series, a golf star in Birdie Wing: Golf Girls’ Story (Mizuho Himekawa) and a lustful protagonist of B Gata H Kei (Tetsuki Yamada).

Asami Seto and Shizuka Neto, who voice Nene and Youko, are well-known for their roles in Wandering Son, Valkyrie Drive: Mermaid, Macross Delta, Rascal Does Not Dream of Bunny Girl Senpai, and Tropical-Rouge! Pretty Cure. Seto is also recognized for voicing Fena Houtman in Fena: Pirate Princess and Aoi Amawashi in Birdie Wing. The latter finished its run on June 24th.

Otherwise, Neto previously voiced Rei Hasekura in Maria Watches Over Us. This makes her voice selection apt, considering Yuri Is My Job! lampoons that series. She voiced Nadie in the yurish El Cazador de la Bruja, Misa Grandwood in Bodacious Space Pirates, Bellows in Gargantia, Minami Toba in Laid-Back Camp, Yoriko Kichijouji in Oshi no Ko, and many characters in other series.

The show’s crew is as talented. Apart from aforementioned work of show director Hijiri Sanpei on Citrus, he also worked on Hinako Note, the ever-controversial Interspecies Reviewers, and the adventure fantasy romance Spice and Wolf. Chief episode director Takahiro Majiima, worked on Citrus and Interspecies Reviewers as well, along with other series like BanG Dream!, Princess Principal, Puella Magi Madoka Magica, and Your Lie in April.

As for the character designer, Taisuke Iwasaki, he has worked the gamut in the animation industry, from series such as Fairy Tail, Kashimashi: Girl Meets Girl, and No. 6, to movies like Revolutionary Girl Utena: The Movie and Your Name. Show script writer Naoki Hayashi, worked on all 12 episodes of Citrus, along with the last six episodes of Flip Flappers.

Last but not least, is Yuri Is My Job! music composer Megumi Oohashi. She ensured that amazing openings, like the one in this series by Ogura, and the ending by Ogura and Uesaka, are present, making the series that much more enjoyable. Oohashi is known for music in Blue Dragon, Gundam series, and Yumeiro Pâtissière SP Professional, and work on Petite Princess Yucie.

It is unlikely there will be a second season. Four of the last anime series produced by the studio, from 2020 to present, apart from Higurashi: When They Cry – Gou, only had one season. One (Harem in the Labyrinth of Another World) did have two OVAs.

Of the eight series produced before 2020 by the studio, only two had a second cour: Haitai Nanafa and Z/X Code reunion. A possible second season could focus on the growing romantic feelings between Yano and Hime, Kanoko and Sumika, or pairs between any other characters. There are many manga volumes that could be adapted I hope that this series gets a continuation, either in an OVA or a second season, as I’d love to see these characters again in something apart from the manga.

Yuri Is My Job! is currently airing on Crunchyroll and is available for purchase on Prime Video.

© 2023 Burkely Hermann. All rights reserved.

Kuma Kuma Kuma Bear Season 2 Review

Kuma Kuma Kuma Bear is an anime which combines the fantasy comedy, isekai, and iyashikei genres. It is based on an ongoing 19-volume Japanese light novel series written by Kumanano and illustrated by 029. This series is produced by Japanese animation studio EMT Squared. Hisashi Ishii and Yuu Nobuta are series directors. This review will have spoilers.

Reprinted from Pop Culture Maniacs and Wayback Machine. This was the thirty-sixth article I wrote for Pop Culture Maniacs. This post was originally published on June 23, 2023.

The show’s first season introduces Yuna (voiced by Maki Kawase), a bored teenager reincarnated in a fantasy world. The higher power (voiced by Shizuka Itou) gifts her an all-powerful, but comical, bear suit. She tries to adapt to her new life and finds it more fulfilling than anything she had on Earth. In the process, she becomes close to Fina (voiced by Azumi Waki), a 10-year-old girl and Crimonia town resident. Fina soon becomes her work partner and her sister. She is drawn to another ten-year-old named Noire “Noa” Foschurose (voiced by Rina Hidaka), who founds a fan club for the bears that Yuna uses to defeat monsters (Kumakyū and Kumayuru). The younger sister of Fina, Shuri (voiced by Miyu Tomita), and granddaughter of Gran Farrengram, Misana “Misa” Farrengram (voiced by Satomi Amano) also become her friends. Along the way, Yuna meets nobles, maids, fellow adventurers, and princesses.

Although the series is an isekai, it is more like I’ve Been Killing Slimes for 300 Years and Maxed Out My Level, than any other series out there. Kuma Kuma Kuma Bear is arguably an iyashikei, a Japanese slice-of-life work which portrays characters in calm environments. Such works have less focus on the plot or characters, but more on an immersive setting and worldbuilding. It is unlike other anime in the same genre, as few are fantasy comedies, and none, that I’m aware of, are isekai.

This makes Kuma Kuma Kuma Bear unique. There’s no focus on romance, music, camping, or mystery, as other iyashikei have done. Instead, Yuna is only trying to enjoy her life, with the help of her friends, and her bears Kumakyū and Kumayuru. Thanks to her bear powers she can even create structures, like houses to live in. The series has strong yuri subtext primarily manifested in the close relationship between Yuna and Fina. Also, female characters far outnumber male ones.

The laid-back tone of the series offsets other more drama-filled anime, such as The Magical Revolution of the Reincarnated Princess and the Genius Young Lady, Ippon Again!, Kubo Won’t Let Me Be Invisible, and The Dangers in My Heart. The same can be said of Western animation such as Villainous, RWBY, Moon Girl and Devil Dinosaur, Star Wars: The Bad Batch, and Velma.

The second season of Kuma Kuma Kuma Bear, also known as Kuma Kuma Kuma Bear Punch, is much more than that. It continues the plotlines from the first season. In the first episode of this season, there are flashbacks to remind the audience what happened. Yuna has become a bit of a celebrity and is called “Bear sis”. While she isn’t used to this, she doesn’t shirk away from helping others. She even drives away orcs from a honey tree, so that she can have honey on her pancakes at a local cafe.

Yuna is often pulled into the world of nobles. Her fan club includes princesses Flora (voiced by Hina Kino), Noa, and Misa. Even the local feudal lord of Crimonia, Cliff Foschurose (voiced by Kōji Yusa), owes her favors. As such, she agrees to make picture books for those in the castle, but not anyone outside of it. This contrasts with the goal of Myne, in Ascendance of a Bookworm, who wants to provide books to the masses. At one point, Yuna caves to pressure and reluctantly agrees to a task given to her by noble Eleanora Foschurose (voiced by Yuiko Tatsumi): guarding students of the royal academy for firsthand training.

The latter duty, predictably, annoys Yuna, as she is comfortable with her simple life in Crimonia. The arc with the students, compromising the second and third episodes, lampoons incorrect judgment of others. Two students, Cattleya and Marix, voiced by Misuzu Yamada and Misato Matsuoka respectfully, think that Yuna is a spoiled and rich lady, and not even an adventurer. In contrast, Yuna finds it exhausting to be around people her age.

As often happens, Yuna easily defeats the beast, known as a black tiger, and takes the pelt for herself, thanks to her bear equipment. The lesson is that no one should judge someone else based on their looks. Such an empowering statement rings true when watched today or any time in the future.

While some children in Kuma Kuma Kuma Bear work, these children are enthusiastic about their work. In the fourth episode, Sherry (voiced by Kozue Yūki) makes a cushion for Yuna and aprons for those at the Bear-themed diner. She later becomes an apprentice at a tailor’s shop. Since Sherry is enjoying her work as an apprentice, for which she is probably paid, I’m entirely convinced it is child labor.

Child labor is often defined as any work which deprives children of their childhood, interferes with school attendance. It can also be any work which is harmful mentally, physically, morally, or socially. I’m not sure if Sherry’s work is affecting her personal development or health. Her duties are akin to assisting a family business. Arguably, her work is contributing to her development as a child and providing experience and skills. It may even be preparing her to become a productive person later in her life, as an adult. Furthermore, she is not enslaved nor engaged in illicit activities.

Sometimes, the isekai nature of Kuma Kuma Kuma Bear is stronger than at other times. In the fifth episode of this season, Yuna learns that Fina can’t cut through the skin of a black tiger with her current knife, and is determined to get a mithril knife. However, to do that, she has to fight golems in a cave, which are blocking access to the resource. While she collaborates with other adventurers, she ends up clearing the cave and getting what she is after by herself. She even receives a substance named Bearmonite. She later believes that the God of the world set up the whole situation so she could get a reward. At another point, she even admits that the mithril knives remind of her previous life as a shut-in gamer.

As for Fina, her fear of nobles may be symbolic of her desire to be at Yuna’s side no matter what. For example, she is terrified of people trying to make her wear expensive clothes. She is afraid if the clothes are ripped, she will be chastised. Adding to this, she worries about accidentally offending the King. As it turns out, the nobles don’t mind her. They ease her nervousness. Even the King thinks that Yuna is annoyed with him! He believes that Fina is more well-mannered than Yuna. When she ends up spilling orange juice on her clothes, her worry fades away. It turns out that those at the castle are just as messy as her.

Otherwise, food and eating are another key part of the Kuma Kuma Kuma Bear story. This is exemplified by Yuna winning over the mother of Fina. The latter is annoyed that Yuna wants to give Fina an expensive mithril knife. Yuna makes her strawberry shortcake, which she calls “devil’s dessert”. In another episode, Yuna works with Nerin (voiced by Saki Ichimura) and others to bake the same dessert. She gives the same dessert to those within the castle. In the same episode, a maid named Lala helps her and Fina brew tea together, and the royal chef, Zeref (voiced by Taichi Takeda), thanks Yuna for previous recipes.

This plotline reminded me of the slice-of-life comedy drama, Antique Bakery, the only cooking anime I’ve watched, and the centrality of food in the Laid-Back Camp, an adventure iyashikei, and in series such as Is the Order a Rabbit?, Tokyo Mew Mew (and the sequel), and Sweetness & Lightning. I also immediately thought of the third ending sequence of Cardcaptor Sakura, set to the song Fruits Candy by Megumi Kojima. The sequence depicts protagonists Sakura Kinomoto, Tomoyo Daidouji, and Kero as baking (and decorating) a cake together. In fact, it is my favorite ending sequence of that magical girl anime.

Another important theme is the message that overwork is not a positive. In the ninth episode of Kuma Kuma Kuma Bear, characters discourage Sherry from tiring herself out. This is like I‘ve Been Killing Slimes for 300 Years and Maxed Out My Level, mentioned earlier in this article, which is strongly against overwork. In this series, Yuna likes her easy life, and doesn’t do more work than she has to. She likely encourages others to do the same.

The last few episodes, comprising the final series arc, are more dramatic. Fina, Yuna, Cliff, and Noa all go to the castle where Misa and the rest of the Farrengram family are living. There is conflict with nobles, including the Salbard family, who control half of Sheelin. The Farrengram family control the other half. The Salbard family want to take over the entire city for themselves. Thanks to her friendship with the nobles in Crimonia, Yuna easily navigates through this class conflict. She even brings in the royal chef of Zelef to ensure that the birthday celebration of Misa goes as planned.

In this arc, one of the worst characters, Gajurud (voiced by Yasuhiro Mamiya), is introduced. He is arrogant, brash, and likes to get his way. He falls right into a trap, since Zelef promises to report the insults that Gajurud hurled at him, and the food, back to the King. Gajurud’s lackeys even abandon him and claim their taste was off because of colds. His awful son, Juliane (voiced by Yōko Fujita), declares he will strike back. It appears, at first, that this attack will occur when Yuna is wearing a dress, for the first time. She is only wearing some of her bear gear, making her a bit more vulnerable.

The final episode of Kuma Kuma Kuma Bear dashes the latter possibility. Yuna, wearing her bear suit, races to save Misa. The latter was kidnapped by the arrogant son of Gajurud, Juliane, with the help of the bodyguard, Brad. This all makes for an enjoyable action sequence. Yuna busts into the Salbard family mansion, beats up two nobles (Juliane and Gajurud), and clocks the bodyguard, after he underestimates her. As often happens in this series, characters underestimate how powerful Yuna is. They believe they can commit heinous acts because they see her as a kid in a bear suit.

This perception is incorrect. Yuna fights to protect her friends and those she cares about. She has a license to do this, to an extent, thanks to support from friendly nobles. In fact, Eleanora helps in this case, by arresting Gajurud and Juliane, with the help of royal guards. The mansion is then searched to retroactively uncover evidence to justify their arrest. This is an intense use of royal power, but is justified by the fact that they kidnapped Misa, and three other children from around the city.

Yuna cares about other people. In the final episode, she hugs and comforts Misa. Understandably, Misa is terrified after she was brazenly kidnapped. Yuna also reunites Misa with Fina and Noa, following her rescue. These actions make Cliff, and the Farrengram family, eternally grateful. Misa, Noa, and Fina even start to believe that Yuna is a goddess. She accepts this, to an extent, even when she is called the goddess of bears.

The final episode of Kuma Kuma Kuma Bear ends nicely and ties up loose ends. However, retributive justice is shown uncritically. Gajurud and his son, Juliane, are imprisoned. They are given the death penalty after a “mountain of evidence” results in their convictions. Brad is imprisoned, exiled, and stripped of his title. Furthermore, the Salbard family property is confiscated, and the economy recovers. Adding to this, Misa’s father becomes sole leader of Sheelin. All of this makes sense, considering the crimes of Gajurud, Juliane, and Brad.

In a large part, this reinforces retributive justice paradigms. The punishment of the nobles is imposed, without possibility of remorse. The state unilaterally declares what is, and isn’t, a crime. In some ways, Yuna is in league with the criminal system of this medieval world. There is the presumed widespread belief that those accused of crimes cannot be rehabilitated.

The series doesn’t turn these paradigms on their head like Villainous. The ending could have depicted restorative justice as being applied to the villains. Unfortunately, the writers didn’t want to go that route. This isn’t a shock, considering there are few examples of this in fiction, other than depictions in documentaries, podcasts, or films such as Red Dust. Furthermore, there is still continued debate over this approach to crime.

On the other hand, Yuna’s violence is primarily defensive and meant to protect her friends. She doesn’t go on rampages against any villains, but chooses when and where she acts violently. She lashes out at Gajurud, Juliane, Brad, and their guards. Understandably, she is furious they kidnapped one of her friends and hurt her friends in the process. No one can fault her for that.

Apart from what I’ve mentioned previously about this series, Kuma Kuma Kuma Bear shines through is in its voiced acting. Maki Kawase, Azumi Waki, and Rina Hidaka, who voice three of the protagonists, are known for their voice work in Tamayomi, Kandagawa Jet Girls, A Centaur’s Life, Michiko & Hatchin, YuruYuri, and Ms. Vampire Who Lives in My Neighborhood.

More prominently, Kawase voiced Shima Iwashita in Bocchi the Rock!. Waki previously voiced Flatorte in I’ve Been Killing Slimes for 300 Years and Maxed Out My Level, Tsukimi Teruya in The Aquatope on White Sand, and Takumi in Do It Yourself!! Hidaka lent her voice as Kobachi Osaragi in Kaguya-sama: Love Is War?, Ren Yamai in Komi Can’t Communicate, and Himi Akane in Princess Connect! Re:Dive, to name a few.

Voice actors, such as Miyu Tomita, Satomi Amano, Hina Kino, Kōji Yusa, Yuiko Tatsumi, Misuzu Yamada, Misato Matsuoka, Kozue Yūki, Saki Ichimura, Taichi Takeda, Shizuka Itou, Yasuhiro Mamiya, and Yōko Fujita, make the series stronger. Some appeared in series like Otherside Picnic, Miss Kuroitsu from the Monster Development Department, or Too Cute Crisis, or lent their voices to characters in Tropical-Rouge! Pretty Cure, Princess Principal, Management of a Novice Alchemist, and Bodacious Space Pirates.

The studio EMT Squared, which produced the series, is known for four series directed by Hisashi Ishii, and another he did with Yuu Nobota: I’m Quitting Heroing. The show’s composer, Shigeo Komori, is known as a writer, lyricist, video game director, and producer. Series writer Takashi Aoshima has worked on series such as Love Lab, Love Tyrant, Karin, and Petite Princess Yucie.

The present series ends with a scene in which Fina and Yuna declare “we’re home” and smile. The pages of a book close, showing that this book/series has ended, that this chapter is over. If a third season of Kuma Kuma Kuma Bear were produced, it would continue the story of Fina, Yuna, and their friends, reopening the book for all.

The first and second season of Kuma Kuma Kuma Bear are currently streaming on Crunchyroll and Hulu.

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