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Alita: Battle Angel — A Warrior’s Tale | Review

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A brief spoiler-free review of the 2019 American cyberpunk action film “Alita: Battle Angel,” produced by 20th Century Fox, written by James Cameron and Laeta Kalogridis, directed by Robert Rodriguez, and based on the 1990s manga “Battle Angel Alita” (or “Gunmn” in Japan) by Yukito Kishiro. 

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After the Fall: An Origin Story

Still recovering from a catastrophic war referred to as “The Fall,” humanity remains determined to eke out a living on a devastated Earth in the year 2563. While scavenging the junkyard metropolis of Iron City, Dr. Dyson Ido, a renowned cyborg scientist, stumbles across a disembodied female cyborg—human brain still fully intact. Taking the remains back to his lab, Ido rebuilds the cyborg and gives her a name: “Alita.”

Although she has no recollections of her past, she is able to create new memories thanks to the doc’s healing hands. She eventually meets Hugo, a teenage boy who dreams of one day moving up to the wealthy city in the sky, Zalem. He introduces her to the competitive, cutthroat sport of Motorball, an every-man-for-himself race where cyborgs fight to the death for a chance at ascending to Zalem if victorious.

But sinister connections tie even the friendliest faces to the shadows, and as Alita quickly comes to realize that there’s no force more powerful than the game, the titular cyborg sets out to learn about her past to save the ones she loves most in the present.

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Alita: Battle Angel may be my first introduction to this much beloved franchise, but man, what solid footing director Robert Rodriguez and writer James Cameron provide for this classic origin story. Going in blind, I can already tell you that the franchise is worth the investment. This live action film, albeit a bit fast-paced, serves as a fantastic place to start if picking up four volumes of the manga just isn’t an option for whatever reason.

Admittedly, there’s some cheesy villain dialogue that sours the seriousness at times, and while I wish these lines weren’t delivered with such blatant “evilness,” the script actually feels more anime because of it. Critics may have blasted the script and the plot for their lack of ingenuity, but I—and most audiences, apparently—seemed to enjoy it regardless. Alita‘s wild betrayals and reveals may come as a shock to some; others may have seen the twists from a mile away. But if you still enjoy the story, that’s all that matters. To quote Dr. Ido:

“But that’s just a shell. It’s neither bad nor good. That part’s up to you.”

Surprisingly, the film contains includes a decent amount humor to remind you that Alita is—as much cyberization and machine-slaughter as the plot contains—a very human story. Although the environment is both visually and aesthetically astounding to take in, it’s the characters of Alita that make this powerful story of purpose and destiny resonate with newcomers and longtime fans alike.

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Alita, An All-or-Nothing Gal

From design to personality, I fell in love with Alita the moment I first saw her in the promotional trailers months back. I knew she’d be your typical brave girl fighting against the system character, but I wasn’t expecting her to be the feisty rascal kind—a delightful surprise. Brazen and bold, the girl is drawn to danger like a moth to a lamp. It’s always all or nothing with her, and Alita’s rebellious free-spirited nature makes her a refreshing heroine to cheer for—even if her recklessness tosses her down the rabbit hole more than a few times.

Did I mention that Rosa Salazar is freakin’ OUTSTANDING as the titular role? Cause she’s absolutely phenomenal, able to communicate to the audience that she struggles with fighting this world’s injustice, but is always eager to learn something new. Salazar’s gradual transformation from fluffy, chocolate-loving teenager to hardcore warrior is impressive to behold. Every second Salazar is on screen feels genuine. Through this loss of innocence, she doesn’t let the emotions hold back (even during the tender moments). If she induces a tear in your eye as you watch, I’m not sorry. She’s that awesome.

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The rest of the cast deserves a round of applause too, especially Christoph Waltz’s portrayal of Dr. Ido for making him this benevolent yet fascinating foster figure. What a dad. (And bless his aide, Gerhad, whose mere presence provides enough support for Alita.) The same glowing things could be said about Keean Johnson’s semi-dreamy Hugo, the junk dealer.

As for the villains, Mahershala Ali’s acting is perfect for the intimidating “king” of Iron City, Vector, but his character’s status(es) needed stronger clarification, as I didn’t even realize what his roles were until halfway into the film. Same for Jennifer Connelly’s Dr. Chiren, a somewhat frustrating character given her circumstantial duality.

And NO, the large CG-altered eyes don’t detract from the narrative one bit. After five minutes, they just became part of her charm, and I didn’t even realize it afterwards.

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Motorball & The World Below

Between the numerous sci-fi action sequences and the stunningly brutal sport of Motorball, Alita is a visual feast. Whether fighting in back-alley slums, the dark sewers below, or on the exhilarating race track surrounded by stadium lights and roaring cheers, there’s never a dull moment in this film. And Motorball though, WOW, one of the franchise’s biggest spectacles is brought to life through stellar visual effects and cyborg goodness to make any sci-fi junkie drool just watching.

Alita also does something really neat with visual lighting. The film begins in the rustic, sunlit scrapyard, which transitions to an even brighter, cheerier atmosphere when Alita meets Hugo. But when rain begins to fall, the dark and dreary cityscape—lit only by holographic street signs and neon lights—emphasizes the literal night journey Alita embarks on. Once she uncovers the truth, light returns as she confronts Vector and his pawn Grewishka to finally deliver justice.

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From the intricate and gorgeous detailing of Alita’s cybernetic body to the remarkably thrilling fights, the attention to detail in crafting this postwar cyberpunk world is on a level of its own. If this isn’t a faithful adaptation of the manga, I cannot even begin to imagine what greatness Yukito Kishiro’s original story contains.

No great sci-fi movie is complete without an equally epic score, to which Tom Holkenborg overwhelmingly pulls through. Between the strong symphonic opening in “Discovery” and “Motorball” busting through the gates with its powerful rhythmic tribal drumming, the harmonic balance between strings and dubstep is just right. For the credits, Dua Lipa’s “Swan Song” also ties in well as a piece addressing social injustice and change. Thank god for Apple Music, because I’ll be listening to this soundtrack for weeks to come.

But Will it be Enough?

With so many moments where you just want to pump your fists in the air and cheer, Alita does everything it needs to do to be a great movie. Gripping, emotional, heartfelt even, but will it be enough? Will this be the last we hear of Alita and company on U.S. theater screens, or will Rodriguez and Cameron’s efforts be enough to finally end the trend of live-action anime adaptations being one-off movies?

Either way, I support everything this film tried to accomplish and then some—heck, I went to the theaters twice, and totally would’ve gone a third if my schedule wasn’t so busy as is. Beyond the issues of faithful source reconstruction or the present lack of a thorough conclusion, all I wanted from Alita: Battle Angel was an entertaining film that holds on its own—and boy does Alita stand proud and tall.

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I do not stand by in the presence of evil. — Alita

Afterword

Oh man, such a GOOD MOVIE my friends!! Job well done to the cast and crew for sure, as this is already a good contender for my favorite non-anime film of the year. Whether in theaters or on your home screen in the near future, I hope you got (or eventually get) a chance to watch it, cause Alita‘s not one to miss. They did this one right, holy shit.

I don’t really ever review live action films, but for Alita’s charm, I’ll make an exception. 2019’s Alita: Battle Angel is certified “Cake” here at the cafe, and should we ever see a sequel, there’s a solid chance I’d bump this one up to a “Caffe Mocha,” without a doubt! Guys, let me know your thoughts about this kickass LA-anime-done-right down in the comments, be it your praises or your criticisms, and until next time, this has been

– Takuto, your host

Charlotte Weaves an Entertaining Web of PLOT TWISTS | Review

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A spoiler-free review of the 13-episode summer 2015 anime “Charlotte,” produced by P.A. Works, based on the original story by Jun Maeda (Angel Beats!, Clannad).

 – View in browser, not app, for best experience –

“What the heck, Takuto? Charlotte? Really, Charlotte??” Actually, yes, I’m not pulling your leg. I originally wasn’t going to watch this anime, as I heard it didn’t live up to the hype, but something in me clicked (my love for P.A. Works), and I found myself attempting to marathon this thing at 1 A.M. It took me three days to finish (sad, really) but I thought I’d share why you actually might want to check Charlotte out. Surprised? Keep reading.

Yuu Otosaka is what I would call a lucky bastard (at least in the beginning). Blessed with charm, wit, and outstanding looks, he also possesses a secret ability to take over a person’s body for five seconds at a time. Being a teenage boy, Yuu abuses his gift to slip into female bodies (wouldn’t blame him), have some fun with bullies, and cheat on tests to slide into a prestigious high school

Just as life couldn’t be more sunny for Mr. Cheater, camcorder-wielding Nao Tomori, a deadpan invisibility-user, catches on to Yuu’s tricks, leaving him and his li’l sis one option: Transfer to Hoshinoumi Academy, a school for students with these supernatural abilities. Yuu, incredibly flustered, agrees solemnly.

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BUSTED

 

There, he is forced to join the student council led by Tomori, where their task includes stealthily tracking down ability-abusers like himself and dragging them back to the academy. As these reconnaissance missions push the student council to their limits, however, Yuu unravels more shocking truths of the world around him, and that his own ability holds much, much, more potential than merely peeking down a girl’s shirt.

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Jun Maeda has this gift for instantly allowing me to fall in love with his characters through simple, occasionally childish actions. That said, he’d be a lot better writer if his stories didn’t have 500-FREAKIN’ teenagers in them! I’m not criticizing him in ANY way at all, and I understand that the story needed a new dude or two, but the anime’s latter half could have gone without the introduction and glossing over of ten new characters. Why not just use-rinse-repeat with the student council members? We already fell in love with them.

Before I move on, I’d like to enforce how much I love the Otosakas, Tomori, glasses-friend-kun, and the moe idol “Yusarin~”/fiery sister. Had this been all the story had, I probably would have enjoyed it much more. Frankly speaking, less characters = more time for others to shine, and in Charlotte‘s case – sparkle. I waltzed into Charlotte thinking, “Hey, we learned our lesson with Angel Beats! right?” Apparently not. But much like its angelic-battlefront predecessor, it only takes a three-minute cafeteria scene to score big with the heart.

On another note, boy, Maeda certainly prefers his supernatural teenagers “paying the price for being special,” eh? You’ll explore that with Yuu Otosaka and his unsteady mental rise and decline. Charlotte doesn’t sugarcoat depression, and it’s scary good.

Smug as hell, but gosh, whom do you remind me of!?

 

Yuu no Rebellion. Geass, anyone?

 

P.A. Works puts on yet another flawless depiction of high-school livin’ on the animation front. It’s fluid, high-powered action scenes contrast with the gorgeous backdrop to create a very supernatural and off-putting vibe when it wants to. I always thought of P.A. Works as KyoAni’s older sister, showcasing maturity over cuteness yet still being very youthful. Character designs are attractive, comedic moments will make you laugh, and that signature P.A. Works sky is simply to die for!

The only disappointing scene from this department was the concert snippet we get. It wasn’t poorly animated, it was just so lackluster compared to its predecessor’s, which even gets a blatant reference when Otosaka is watching anime at a computer cafe. At least the story involving the ‘post-rock’ star was a touching one.

For soundtrack, what we get is . . . actually pretty nice. It’s apparently arranged by ANANT-GARDE EYES and Maeda himself, so make of that what you will. The feeling I get listening to these tracks is in fact similar to Angel Beat!‘s, but again, make of that what you will. Playful and relaxing, energetic and intense, grim and remorseful – It all blends in really well with the atmosphere.

“Bravely You” by Lia is our opening, and if I haven’t made enough comparisons to AB! by this point, then you’ve got to be blind . . . kinda like half of the cast (OHH, BURN). The song fairs particularly well, growing on me as the series progressed. What really got me was the animation sequence that pairs with it. Lia has always been good at breathing life with P.A. work’s visuals (or vice versa, rather), making them seem like they belong hand-in-hand; It’s not just a sketch set to a song, but a moving, breathing piece.

I held my opinion of the story until now because here’s where things get real messy, really fast. Charlotte is pretty much firing on all cylinders until we hit the last third portion of the series. Until now, we’ve been wasting time at school steadily chugging along, makin’ memories and enjoying ourselves with a memorable cast, but a second sudden PLOT TWIST throws everything into the shitter. Maeda must’ve gotten bored with the slice-of-life school romance and PLOT TWIST shot the anime down a rugged path looted with amnesia, sudden-death, insanity, identity disorder, the questioning of humanity and sin, and PLOT TWIST, time travel. Great. Fans are never going to live this down, are they? Granted, it handles these attributes immensely well, but the PACING is horrible – as if the situation wasn’t drastic enough – and then BAM, another PLOT TWIST. Charlotte fell of the map in the last leg of its race, and I won’t even mention the final episode – An episode so diverging and literal that it could’ve been the foundation for an entire series by itself. What the frick???

While I can’t say I was in love with Charlotte the entire time, I still give it props for knocking me off guard at least a dozen times. Its unpredictability matched with likable main characters, stellar animation, and a semi-linear plot is still enough to hold much emotional appeal. Charlotte was trying to accomplish way too much in such a short run, and it begs the question as to whether some of its PLOT TWISTS were even worth sacrificing a good batch of characters (Yuu’s journey was excellent, though). Entertaining? Oh God, hell yeah! Artistic? Meh, it felt like several great stories mashed together to create something pretty wicked. It could have taken many different directions, but instead Charlotte decided to swing us waaaaaay outta orbit, sprinkle on its character development, hammer the plot, then soar right back out until the very end . . . Kinda like a comet.

“Do you know the story of the geocentric model? Today, we know it’s complete nonsense, but it used to be accepted as common knowledge. However, reality did not agree. What do you think happened to the first person to ever question it? They were called a heretic, cast out, and stripped of all their power.” – Scientist Tsutsumiuchi *cough theme cough*

+ Core characters highly likable (and PHENOMENALLY VOICED!); Yuu has one crazy journey

+ Balanced comedy, action, drama, and even romance nicely

+ Emotionally gripping even when plot goes down the drain

+ Absolutely gorgeous and consistent animation

– You don’t need a dozen PLOT TWISTS to keep me invested

– Plot pacing so horrible it hurt to breath

– Misplaced character focus (too many of them); glossed over vital characters

So that’s Charlotte. If y’all are scrounging for something unpredictable, here’s a winner. It’s a sweet “Cake” for me! Fans of P.A. Works should also get a kick out of it, despite its misleading direction. Lastly, consider watching if being critical isn’t your thing – it’ll at the very least keep you very entertained (watch me on Crunchyroll for FREE)! Did Charlotte mindf*ck you repeatedly until you didn’t even care anymore, or were you pleased with the end result? Let me know in the comments and we’ll chat! Also, I figured out how to put in videos thanks to the Otaku Judge and Rocco B!!:) Thank you for spending your time to visit little ol’ me, and until another review next year, this has been

– Takuto, your host

Soul Eater Review

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For just a mere $30 drop, the famous shonen anime Soul Eater has been a daily treat of mine now for the past couple of weeks. Notable for its perfect blend of action, comedy, and awesome characters, this show is responsible for pulling in many anime fans here in the U.S. But does the title live up to its grandiose reputation? I Takuto, your host here at the café, shall present my thoughts to you in a slice of colorful cake.

Everyone has a soul. In the world surrounding Death Weapon Meister Academy (DWMA), administrated by Lord Death himself, there exist evil humans and monsters known as Kishins, beings that have turn into evil demons by consuming an incredible amount of pure souls. To fight of these Kishins, warriors called Meisters team up with Weapons, people that can transform into various blades or arms.

Once a Weapon has collected 99 evil human souls and 1 witch soul, the Meister’s weapon will advance to a Death Scythe, recognizing you as one of Lord Death’s finest weapons. Not that this concept matters anyway.

Soul Eater follows Maka and Soul, Black Star and Tsubaki, and Death the Kid with Liz and Patty Thompson. While their goal is to gather souls for Death, they have the chief mission of defending Death City and the DWMA from all kinds of wickedly powerful creatures. When they are not on the front lines, however, they attend school and train to become the best!

As the anime introduces its main cast one by one, this seemingly honest idea of leveling up deviates towards a complex and deeper plot. What starts off as a repetition of kids going to school quickly erodes into a story of madness.  Along the way, Soul Eater pressures our heroes into crazy situations that, though obviously not comfortable for them, are extremely enjoyable for us as viewers. Simple values like friendship, bravery, and humanity are also used as mediums for character development, but they can be a bit overbearing at times, especially the way the show cradles some characters.

Maka is studious, short-tempered, and is always thinking of others, but above all, she is determined. Her Weapon, Soul, might just look like a cool guy, but he would actually risk life and limb to protect Maka. Despite the bickering here and there, Maka and Soul’s platonic bond matures into one of the most reliable ones in the series. It was a sheer joy to hear Laura Bailey as Maka, considering that the last I had heard from her was as Ayaka and Evangeline in Negima!?, and Micah Solusod was great as always!

Black*Star is brash, loud, enthusiastic, but more than anything annoying! Wanting to surpass God in terms of power, he provides the comic relief in the show with his ridiculous stunts.  He’s also a fail assassin, shouting his name to all to hear when he enters the scene. Following loyally behind him is Tsubaki, his kind Weapon who is willing to help however she can.

Death the Kid, the son of Lord Death, is calm, smart, and . . . . has an extreme OCD case where symmetry is everything? Yes – He is so obsessed with perfect symmetry that he is willing to stop and marvel at a giant mummy monster just because the sarcophagus is equal in all proportions.  If it weren’t for Liz and Patty, playful twin sisters, to comfort him, then Kid would never stay focused. Todd Haberkorn plays Kid brilliantly!

Other than the cruel witch Medusa (never heard that side of Luci Christian before – its freakin’ awesome!), the underlying antagonist that is frankly a genius in every way possible, the rest of the cast, to me, is meh. I mean, Lord Death’s cheery nature and Arachne’s evil blemishes, though she did nothing, are both definitely cool, but everyone else was either decent or really annoying – specifically Crona, Sid, and Mosquito. Then there’s Excalibur . . .

Nevertheless the likability overpowers and all of the characters are memorable. They each stand out at least a couple times to give you room to judge. Soul Eater functions best when it showcases one character at a time.

Studio Bones delivers a bright tone in a rather dark show, which is a hard thing to get right, but they nail it for sure! When scenes are meant to be light-hearted, bold colors on characters and backgrounds jump out. In contrast, the eerie, haunting parts –with a touch of Halloween – feel ominous. Praise to Eruka and Free’s encounter with the First Kishin – my heart literally jumped out of my rib cage; seriously terrifying!

The use of various angles, smooth animation, and unique moves makes for some of the most interesting action I’ve ever seen, and they’re fantastic! Never once do the fight scenes ever seem pointless or unnecessary. It helps that all of the characters support expressive faces to match the mood. However cartoonish and basic the animation seemed, it was executed with pure entertainment in mind.

Aside from the great English dub performance, sound remains nothing special. There are no memorable tracks other than “Psychedelic SoulJam,” but there are a couple new ones added for the “epic” final fights.

The first opening “Resonance” by T.M.Revolution fits the first half of the show perfectly with its spooky tune.  Meanwhile, the second opening “PAPERMOON” by Tommy heavenly6 beautifully exemplifies the second half. Both are super catchy, and my favorite ending of 4, #3 “Bakusou Yumeuta” by Diggy-MO’ raps out the quirky character styles!

Soul Eater does not have any filler (besides Excalibur. . .), but can be rather slow at times. Dangerous situations are drawn out, specifically that whole Arachnophobia vs the DWMA clash. Crona and Franken Stein dilemmas were especially a drag, considering the fact that I could have been watching more Kid and Soul kicking ass! Also, considering its 51-episode length, it’s a bit of a struggle to the end.

Other than that, Soul Eater is plain fun, offering great action, heartwarming themes, memorable characters, ano stupid comedy – DO NOT try to take this show seriously. Once the secrets of the Kishin are let loose in the first half, however, there is an extreme drop in interest towards the end. As such, this anime is not perfect because of the great distinction between the first and second arcs, and some of the characters can be extremely annoying. But it manages to stay consistent with one goal in mind, and that is one of the strongest points to the show; the end was pretty fair if ya ask me. Though it wasn’t the “best anime ever,” I still had a great time watching this it, and I thank those who recommended it to me!

“People need fear to survive. We experience it so we can grow stronger.” – Maka Albarn

FOOLS! Go watch Soul Eater if you haven’t already – it’s a classic in the shonen genre for a reason! Leave a comment below if you had similar thoughts towards this crazy show! I welcome all newcomers to the café and extend my thanks towards my followers 😀 Hit the like if you enjoyed my review and until next time, this has been

– Takuto, your host

No Game No Life Review

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I have this system that allows me to recommend anime even if they have this “read the manga” bull-sh*t ending. After all, it’s usually the ride that counts for me. No Game No Life is a quizzical anime adaptation based on Yuu Kamiya’s light novel series, and its lack of an animated ending hurts the series the more I think about it.

Bro and sis Sora and Shiro are gifted NEETs who form the notorious “blank” across the gaming world. Together they are an unstoppable force: pulling all-nighters, eating junk food, and learning all of the ins and outs of various games just to achieve victory – but they never cheat. They both find the real world to be harsh and even crappy, donning it as just another game. When challenged to a complex game of chess supposedly designed by God himself, Tet emerges upon their triumph, and the two are warped to another world.

In this world, God has outlawed war and violence, so instead of physical brawls, everything is decided by games. Want all the money from a bank? Beat its owner. What about living in a castle? Simply defeat the king – and that is exactly what “blank” does. With the humans or “Imanity” chased to the board’s edge by other races, is it up to Sora and Shiro to save the Imanity and conquer the gaming world – but in real life this time.

No Game No Life’s basic premise can be carried out in many ways, yet “beat the boss, next floor” format doesn’t flow in this anime, and that can be appreciated – to a certain degree. While you know Sora and Shiro will win all of exciting and intriguing games (cause if they lose there wouldn’t be a show), it’s the ride to that final draw that make 12-episode anime worth it. The games are wacky and chalked full of weird rules, however, that makes them so much fun to watch!

On the other hand, the slight lack of explanation in each challenge often results in seemingly impossible feats. The games can be confusing and drawn out to two episodes at a time. As such this show is a binge watch – you’ll lose track if you try to space your viewings out.

Sora overwhelmingly takes the lead as the perverted-older-brother-mad-hatter type of character. He’s clever and brainy, desiring to win a library for knowledge of the world that he and his adorable sister were thrown into. Logging it in their phone, Sora immediately makes it his top priority to challenge the God of this world. Yoshitsugu Matsuoka (Kirito from SAO, Arata from TRINITY SEVEN) performs with such strong lust in his voice acting that makes for quirky dialogue. He certainly plays the role well!

For a female lead, Shiro is not that interesting. She’s cute, quiet, and relies on her onii-san. There is a much more intellectual side to her, unlike her brother, that makes for quick-witted comebacks and in contrast respectful monologues. While Shiro gets a couple of great episodes to herself – literally by herself – there isn’t really much else to say.

The only other mention is Stephanie Dora, an emotional young Imanity girl who is the daughter of the recently dead king. She is stubborn, whiny, and expressive, yet has an intelligent side regarding the Imanity. Because she flips from being a genius to a dimwitted casual – just to make Shiro and Sora seem smarter, might I add – she was poorly treated by the writer(s). Stephanie is easily likable, but only when she has her dignity intact.

NGNL’s animation by Madhouse is rather . . . how’s to say, bright? The effective use of reds, blues and other vibrant colors as outlines instead of the usual black adds to more eye-appeal. Everything else is also energetic in color; these upbeat hues help to bring the world of games alive! It’s fun J and not like your average anime!

Sound-wise, I wasn’t too impressed. There are a few “Aha!” tracks for the intense gaming climaxes, but the more emotional bits are supported, yet without memorability. I can recall the epic challenges that Sora and Shiro surpass, but I can’t remember any of the characters spewing out their passion, and part of that is because the actual-game-sounding music just wasn’t on-par with the anime. Besides “Predawn,” it’s not bad by any means, but could have been more.

The show gives off this foreboding vibe, as if Tet foreshadowing the darkness behind the gaming world is where the series would end, however, we never get down to the heart of things. That disappointed me most. A perfect reflection of my thoughts are in the opening, “This game” by Konomi Suzuki. The piano introduces us to a mysterious and devious land, yet past this rich piano solo, the song turns into your average anime opening, revealing its sense of playful trickery.

I have troubles recommending No Game No Life particularly because it just ends with another game. Upon release of a second season, which is most likely, then I will 100% recommend this anime to anyone, despite the mild nudity. The characters can drag the anime down a little bit with their ecchi playing, but when the boobs are put away, No Game No Life functions as a great piece of entertainment, and I enjoyed its cleverness thoroughly.

“’Checkmate’ doesn’t mean you’ve simply cornered the enemy king. It’s a declaration that the enemy king is yours. That’s why I said it the first time I met you. ‘Checkmate.’” – Sora

The anime has been licensed by Sentai Filmworks, so we can expect a dub release sometime soon hopefully. Thanks so much for reading my review over this fun gaming anime! If you had similar thoughts, hit that like button and follow me for more material like this. Until next time, this has been

– Takuto, your host