Den-noh Coil: The 2000s Sci-Fi Anime You Never Watched (But Should) || Review

A brief spoiler-free review of the original 26-episode Spring 2007 anime “Den-noh Coil” (also translated as “Dennou Coil”), animated by Madhouse, created and directed by Mitsuo Iso.


Nostalgia, Child’s Play, & the Internet

In the near future, people have integrated augmented reality their daily lives through the use of specialized cyber glasses. A virtual world of “E-spaces” overlays Daikoku city’s electronic infrastructure. Viruses hide in plain sight, yet only glasses wearers can see these virtual hazards. Children in particular find immense joy in tracking down old abandoned E-spaces and using them for their own game. Hacking spaces, switching servers, discovering damaged domains—it’s like the coolest game of geocaching you could ever play! Some have even taken interest in hunting for metabugs, small gems which can be converted into currency or special items in the digital world.

This brings us to Yuuko “Yasako” Okonogi and her family, who have just moved to Daikoku City despite rumors of some people mysteriously disappearing. While searching for her cyberdog Densuke, Yasako encounters Fumie Hashimoto, a playful classmate and member of “Coil.” Comprised of other community youngsters, the small unofficial detective agency helps glasses wearers solve various cyber troubles. The girls’ meeting also brings Yasako’s snappy grandmother back into her life, who just so happens to run a shop that sells illegal tools which interact with the virtual world AND is the bright mind behind Coil.

Like any program, however, there are many bugs in the system, dubbed “illegals.” Some are lost, aimlessly wandering the digital landscape to eternity. Other illegals exist to cause mayhem, and some are harmless yet like to follow humans around, much like a household pet would. Another girl, Yuuko “Isako” Amasawa, is also investigating these corrupt spaces, but her abrasive hacking style (and attitude) deters her from making friends. The kids in Coil are determined to discover the truth behind the mysterious viruses and disappearances, but little do they know what corruption lurks on the dark side of the web.

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Virus Attacks & Friendly-Fire Hacks

For the entirety of the series, Yasako serves as our blank canvas as Fumie guides us through the ins and outs of the virtual world. The two girls become best friends, and Fumie’s intelligent yet loud personality meshes well with Yasako’s soft naivete. Navigating through scary virus attacks and friendly-fire hacks from their fellow classmates, the go quite well together as a pair.

But, if there’s one giant brick wall stopping them from having fun in this digital space, it’s going to be Yuuko Amasawa. To avoid confusing the two Yuuko transfer students, the kids call her Isako. And boy is Isako one tough nut to crack. She’s standoffish, rude, and totally not interested in making friends; rather, her eyes are set solely on collecting metabugs for her own personal mission.

To complicate matters, the incredibly obnoxious and bratty Daichi Sawaguchi (along with his self-named “Hackers Club” goons) are also trying to snatch up metabugs, drawing out much of the conflict in the series’ first half. As things get weirder and weirder on the digital side, these hidden secrets tell of disastrous things happening in Daikoku City. Maybe, just maybe, the forces undermining the kids’ efforts will allow them to start seeing eye-to-eye.

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Given that practically the entire cast of this one is made of children, I’m SO glad that the English dub from Maiden Japan cast all the young boys with female dub actresses. (It just helps avoid the cringe of hearing a 30-year-old man voicing a ten-year-old.) I’ve never heard a dub where the children—to this extent—act and sound so much like children should. These kids are FUNny and are a hoot to watch! (And I LOVE Specs Granny!!)

Whether chasing down urban legends, stalking haunted hotspots, or connecting dreams and memories across time and digital spaces, these kids go on quite the coming-of-age journey. Together, they prove that the Internet can be a fantastic place for self-discovery—but also a potentially hazardous landscape without practicing proper safety.

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Integrating CG with the Digital World

Although the show has a quiet, lukewarm start to it, the talents at Madhouse breathe astonishing life into Den-noh Coil. Mitsuo Iso not only directed AND created the entire story—he also drew many of the key frames himself! His style is jerky yet detailed, full of motion and expression. There’s some really well-animated character work done here, and it’s all in the details. Whether fidgeting children, readjusting glasses, or making silly faces, the animation fully encapsulates the behaviors and mannerisms of goofy 6th graders.

Despite coming from an era of anime where the use of CGI was almost purely experimental, the 3D CG works remarkably well here since Den-noh Coil‘s world is deeply intertwined with the digital space of the Internet. Muted, drab, washed-out Tokyo landscapes provide a unique, small-town community atmosphere to the series. Much of the AR special effects work is done with CG, giving us a nice distinction between the bleak watercolor skies of the real world and the quirky (yet dangerous) E-spaces that the kids are so fond of exploring.

I also found the entire soundtrack of the show to add a unique quality to Den-noh Coil. The series is accompanied by soft acoustic guitar and the quiet cascade of digital sound effects whenever the kids are dueling in back alleyways. Tsuneyoshi Saito’s OST, as with most of his other works (most notably Fafner), showcases the strengths of orchestral music. If we’re not getting weaving wind ensembles, we may hear the solemn beat of tribal drumming, or even the tender, evocative enchantment of the piano. It’s classic, and this kind of music will always win me over.

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Connection, Disconnection, & Loss

Den-noh Coil takes a bit to get going, but enjoy its comedy/slice-of-life beginning. Trust me. These early-middle standalone episodes explore youth, life, and living side-by-side with this digital world, and are by far some of the strongest in the series. (The beard episode was especially great.) I’d argue that the episodic direction in the middle is far stronger than the main overarching story. Then again, I just find that the episodic style suits the series’ world and setting better.

About two-thirds of the way in, this sci-fi adventure kicks up the mystery with a starkly different plot set in motion. The character drama in the middle is also strong and even stronger at the end, which ties in well with the creepier subjects of the series’ finale. It’s a striking tone switch, but it really makes for an exciting finale.

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These days, no one talks about Den-noh Coil (which is partially why I was drawn to it in the first places). I think that’s sad, because it’s more relevant now than it ever was in 2007 when it first came out, and I can’t help but think how highly people would praise the series if it was put out today. Certainly, it’s one creative piece of sci-fi.

Den-noh Coil tackles themes of connection, disconnection, loss, extinction, living within boundaries, and learning to push beyond certain limits. It explores what can go wrong in a world that lives side-by-side with technology, a world that can be hacked AND hack you just the same. Some stories are silly and eccentric; others are thought-provoking and startlingly philosophical. If you’re wanting an anime that explores transience in the digital age and you’re tired of being directed to Ghost in the Shell or Serial Experiments Lain, go give Den-noh Coil some love. It’s TOO overlooked and under-appreciated, and I guarantee it’s the early 2000s sci-fi anime you never watched—but absolutely should.

yasako and isako


What is real? Does being able to touch things make them real? If something can’t be touched, does that mean it isn’t real? What things are really, truly here? What things are actually here for sure?  — Yuuko “Yasako” Okonogi


Afterword

I had to sit on my rating for Den-noh Coil for a while. On one hand, it’s slow, a bit drab, and unnecessarily confusing with all its technobabble nonsense. On the other, however, it’s surprisingly dynamic and full of interesting ideas. And you know what, it’s for these reasons that I welcome Den-noh Coil as a certified “Cafe Mocha” title. THIS right here is what we call an anime gem, and you should seriously consider adding it to your watch list if you love sci-fi or augmented reality in the slightest! Had I watched it as a child, I couldn’t even begin to imagine the boundless fun I would’ve had with it! Are you one of the rare few who have seen Den-noh Coil? Please let me know, as I’m looking for fellow Coil kids to love this show with! Thanks for reading, ’till next time!

– Takuto

Death Parade: That’s Just the Name of the Game | OWLS “Dreamers”

Chances are that if you were linked here from another blogger pal, then you might be new. To those first-timers, “Hi, I’m Takuto, welcome to my anime cafe!” As part of the OWLS blog tour’s  tenth monthly topic, “Dreamers,” I decided to incorporate what would have been my standard Death Parade review into this retrospective look at beauty stopped short by a cruel twist of fate.

Every individual has a goal or ambition that they devote their whole life to with passion and courage—whether it’s landing your dream job, traveling, or finding the love of your life. However, there are those who spent their whole life working towards a dream, but were cut short due to an unexpected occurrence. Those people are left only to dream and wonder about the possibility. 

We are not going to focus on the individuals that achieved their aspirations, but instead look at characters that weren’t able to. We will explore what happens to characters who had their wings forcefully cut off, as well as those who gave up before they even started their journey.

I’m a little late to the Death Parade game, but better late than never, right? Also . . . IT’S FRIDAY THE 13—KARMA IS GOING TO EAT ME ALIVE AND SPIT ME OUT. Thanks Lyn for the prompt!

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A brief discussion on the winter 2015 anime “Death Parade,” produced by Madhouse, directed and based on the original story by Yuzuru Tachikawa. SPOILERS WILL BE PRESENT.

“Welcome to Quindecim”

What awaits us in the afterlife? Is there even such a place? As we understand it, nobody will remember how they died. There is living, and then the moment after death. So how did I get here—and why is there a bar in the afterlife?

Such is the state of mind of those who—fortunately or not—awaken in a mysterious bar remembering only that they lived, and that they are now here at a chic bar called the Quindecim. You cannot escape, but you are invited to participate in a game where the value of your soul is on the line, and weighed by none other than the discreet bartender Decim himself. Darts, bowling, air hockey—your typical watering hole time-wasters. Terrible joke, right? Honey, that’s just the name of the game.

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As pairs of strangers stumble into the ethereal pub, they quickly ingrain it within themselves that winning is absolutely dire to making it out alive. Little do they know that despite having come from different walks of life, human nature is unchanging, including the worsts parts of it. That precise moment of despair declares the true winner and loser, and just like an arbiter Decim passes judgement based on the revelations alone, sending them to either heaven or hell following the game—that is until, however, the arrival of a strange black haired woman causes Decim to reevaluate this cruel system of judgement he employs upon his poor guests, as well as his own existence as a heartless arbiter.

“Tell me, bartender . . . we’re already dead”

Death Parade centers its focus on three important themes: the act of passing judgement upon others, self-realization, and death itself. What’s really special about this anime is how it breaks down these notions and turns them on their head, causing the lives of the characters in the show to fall short of any real achievement or happiness:

3. Judgement For one, Decim does not believe that the games bring out the true hearts of his guests, but that true shock and terror for one’s own being does instead. He draws forth these intense emotions by the games: slowly, he might re-implant the memories of their deaths back into their minds; or perhaps, he’ll break or disable a function necessary to win the game in order to see how those essentially “cheated  on” accept these brutal circumstances. Actions define your character, after all. But could you even call this fair judgement? Decim thinks so.

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2. Self-Realization All of our guests awaken without a clue as to how they got there. None of them even remember how they died, which is crucial to the game Decim wishes them to play. As the matches progress and the memories begin trickling back, these individuals start to reveal their true colors to one another, some exploding with hypocritical violence like they used to back when they lived, others merely crying at the tragedies that befell them pre-death. What’s common between both the winners and the losers is that they are all struggling while coming to terms with the realities that fate has placed them in. That shock is a lot to take in. All at once, you remember the person you used to be: the sins that you committed, or the evils that were done to you unknowingly—how you were stabbed in the back, or how you yourself took another’s life. Here, self-realization isn’t used to instill individuals with hope, but rather complicate matters, causing some to break because of the pain.

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1. Death One of the anime’s greatest secrets is revealed come episode two: the guests who believe that they’ve just been kidnapped or imprisoned are, in fact, deceased, presumably stuck in a purgatory of sorts until the arbiter judges them, sending them to either heaven or hell. That’s when the second great secret is revealed: there is no life after death, only reincarnation or the void. Adding more trauma to the hopeless situation, Death Parade anticipates that its viewers are left praying for the purest of the two guests, only to have that purity snapped by the ultimate revelation: There are no second chances, in life and after it.

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Why do it all? To Show us Chiyuki, a Dreamer

This is the name of the black haired woman with no name, no memories, but a passing thought: she knows that she’s already dead. Inconveniencing Nona, Decim’s “boss,” the nameless woman is granted a working shift at Decim’s side until . . . hmm, well we don’t really know how long she was supposed to work, just that towards the latter half of the series memories of her past life start resurfacing, creating an unstable existence trapped with little time left to remember everything. Luckily, she does, only to realize that she, too, was ruined long ago.

She was heralded as one of the nation’s top ice-skaters, and as a child growing into an adult, everyone only saw her for that, an athlete. Chiyuki was thrilled with the praise and success, but overtime (especially as a full-grown adult woman) we get the feeling that she wanted to be more than that—to be known for who she was, not what. And nobody cared to explore that side of her. She was judged by the world for what she accomplished, not how she lived.

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To balance the scales, Chiyuki is sent as an assistant to Decim to judge souls herself. She finds herself frequently bumping heads with Decim’s cool demeanor, though, frequently voicing her human emotions and opinions quite loudly—about how wrong Decim is, or how unfair the things he does are. She opens Decim’s eyes to the way of the world, allowing them both to tragically realize that, whether it’s in life or whatever comes after, no soul deserves the unbearable weight of judging others.

She was judged, she had a realization, and then she died. But not in the traditional sense. No—her death came with losing what connected her to others: ice-skating. After suffering a career-ruining injury, she was forced to give up her passions, aspirations, and biggest dreams of becoming one of the greatest ice-skaters to ever live—THIS was what truly killed her, for now, without a purpose, she merely exists and walks along a destination-less path. When Decim shows Chiyuki the world without her in it, she realizes that her suicide marked the finality of her regrets, not her death. The pain she caused her mother absolutely tore her apart, and she is left heartbroken because she wished she had valued her own life.

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Where Justice Lies

Given the once-in-a-“lifetime” chance to return to the living, Chiyuki denies the ultimate wish. Why? Why wouldn’t she want to apologize and reunite with her mom?? Causality, that’s why; give and take. When a soul leaves the earth, a ripple of cause and effect impacts the lives of others. By reclaiming the impossible—a second chance at everything—her soul is exchanged for another. This brings us back to the first theme, where YOU do not get the chance to weigh another’s life, nor the sorrows that would come with that stranger’s death. The revival of one brings about the unfair ruin of another, and if justice has taught her anything by this point, it’s that this is the greatest taboo.

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At the story’s end, we find out that Decim’s existence is part of an elaborate experiment crafted by Nona all for the sake of searching for a better judgement system. Though Quindecim’s tactics are arguably fairer than the ones we have now, it’s still a far shot from true justice. That begs us to ask the essential question:

How long will it take to find where justice lies, and at the smallest cost possible?

Death Parade takes an exceptionally accurate stab in the dark and concludes that, though trial and error brings us inches closer towards the light, true justice still lies many, many lifetimes away. In a story rich with irony where dreams are crushed and lives are weighed like pennies, those parading into the bar of the afterlife died long before they even realized they lived.

“I don’t regret the things I’ve done. I regret the things I didn’t do when I had the chance.” – Chiyuki


Man, I didn’t even get into the slick animation (with amazing texture designs), atmospheric and emotional soundtrack, or the other characters besides Chiyuki and Decim, but perhaps I’ll leave that all up to you to explore yourself! It is, after all, regarded as a “Cake” here at the Quintaku. 🙂 But yeah, Death Parade, it’s a wild ride for sure, though I can’t help but feel that it, like its poor characters, had its expectancy cut short. I doubt there’ll ever be more, considering it’s an original source (the best kind of anime), but who knows, maybe Lady Luck will throw us a curve ball, or an extra toss at the dart board. (Just please, avoid the eyes. That would suck immensely.) Let me know what you thought of this anime!

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This concludes my ~spooky~ October 13th entry in the OWLS “Dreamers” blog tour. The incredible YouTuber Gigi of Animepalooza *FINALLY* put together a video captioning the flawed life and broken dreams of Yuri!!! On ICE‘s KING JJ which you can view right here! Also, look out for our fearless leader Arria’s (Fujinsei) post about the lovely Silver Spoon this upcoming Monday, October 16th!  Thank you so much for reading, and until next time, this has been

– Takuto, your host

One Punch Man is Absurd, Out-of-this-World Fun! | Hero Week Review

A brief review of the 12-episode fall 2015 anime “One Punch Man,” produced by Madhouse, based on the web manga by ONE (story) and Yusuke Murata (manga art).

Travel back one season from ERASED and you have the anime that etched 2015 in history: One Punch Man. Its grossly over-popular yet dorky concept captivated web manga fans, and when an anime adaptation by THE Madhouse was announced people went hysterical; cosplay, fan art, and “OK.” memes circulated like no other. But what gives OPM a fiery kick like no other, and why do fans gloriously rave about this bald athlete?

In a world under siege by gigantically wacky monsters and bizarre extraterrestrials, Saitama wanted to be a hero. So, he trained ruthlessly for three years, got abs, but lost his hair. Now he has arguably become the world’s strongest hero. Unequivocal strength comes with a price, however, as now all it takes is a single punch—ONE PUNCH—to knock is opponent into next Tuesday. What was thought to be a thrilling and rewarding hobby became tedious and unsatisfactory. Because he defeats his foes in an unbelievably swift manner, people and the media are also unable to credit him properly.

To keep the story fresh, life must change for Saitama. And it does. A cold, brutal, 19-year-old cyborg by the name of Genos stumbles upon the one-hit-wonder’s performance, and urges Saitama to take him as his disciple, admitting he has much to learn from him. Genos then leads his master to the Hero Association, where the two can become certified heroes and *fingers crossed* be officially recognized (and rewarded) for their work saving City Z. As anticipation reignites in odd Saitama’s eyes, he clings to the hope that tougher enemies will head his way, and that one day soon, the people might actually turn to him for help in this chaotic world.

One Punch Man is simple; a tough guy follows his all-powerful master in hopes that the two find excitement in experience, challenge, and fame. While most of the intent is on the explosive battles, much of what people took away from this experience was the comedy, in that it doesn’t try too hard to make us laugh because it’s inherently goofy. The whole scenario of a bald, self-proclaimed hero in a mustard-colored onesie running through the streets yet managing to obliterate any target in one punch is satire in itself. Saitama is an unapproachable fool who defies the typical superhero because he’s an egg-head who exercised a sh*t ton—not receiving any supernatural/monetary help as we know it—to become strong. Since battles are nothing for him, where we see Saitama struggle is against the public eye and the Hero Association’s ranking system itself.

But with the crudely drawn monsters and frankly disgusting defeats, I was turned off by the extreme ends of the repetitive earlier fights. I admit, I thought the anime would run out of steam quite early on, making it just another shounen series out there (but epic-er). Then episode 5 came around—the bout between Genos and Saitama—and I fully realized that this was going to be a good show.

I should applaud Makoto Furukawa’s performance as Saitama because holy crud, how can anyone sound so bland and ordinary yet make me sh*t bricks whenever he opens his dumb mouth?? He really did capture our Egg-head’s nonchalant dialogue, yet appropriately ramped it up for intense battles. I ended up enjoying Saitama as a character much more than I thought I did, for even though he’s clearly the world’s strongest man, he grows as a human in seeking attention and ‘raise’ Genos at the same time. Like the seemingly basic plot, much more development boiled within each emotional scene.

Genos is your typical knight in shining armor (literally, hah!), needing little introduction to sway the crowd in his favor. He’s a straight-up badass cyborg, after all, though he too knows his flaws and overly criticizes himself for the few things he couldn’t do rather than celebrating his accomplishments—there’s always room for improvement. I sympathize with Tin-can on this one. Good thing Genos has a buddy to support him.

We also get to see the variety of heroes, low and high rankings, which are part of the Hero Association. Most A Class top dogs tend to do it for the fame and luxury life, while the C Class underdogs usually put the good of the cause before themselves. Such is the instance of MUMEN RIDER, a “catch-my-flying-balloon” hero who cycles all across the atomically-wrecked City Z to fight evil (even though he’s typically too little, too late). More than that, he represents the “man at the bottom of the totem pole,” and though his arms are weak, his heart burns passionately like a fool trying to stop the rain by yelling at it.

Madhouse. Ah, Madhouse. I’ve seen very little by them, and honestly, the first couple episodes made me cringe more than anything . . . until that episode 5, man, I’m telling you that’s the crazy action I was anticipating from the beginning. Each match just tries to absurdly 1-Up the one that came before it. After that, I was pretty much glued to the screen, appreciating the contrast between Genos and Saitama’s menial routine (hilarious faces and gestures, oh god) and the ridiculously high-octane fight sequences.

A musical score rides side-by-side with the energetic animation. Makoto Miyazaki combines fierce electric guitar rifts with overpowering strings and techno beats to form the definition of “action film music.” Personal favorites include the eerie “Kowa,” the epic “Crisis,” and of course, the “Theme of ONE PUNCH MAN” and its many acoustic and piano renditions. It’s enough to make you want to jump out of your bed each morning, shout a bloodcurdling cry, then proceed with air punches and a billion push-ups.

Where would I be without mentioning the show’s anthem OP “THE HERO!!” by JAM Project? While it alone contains enough awesomeness to serve as a substitute for your morning coffee, I also speak for the ending, “Hoshi yori Saki ni Mitsukete Ageru” by Hiroko Moriguchi. It was just such a nice balance between “GOOD FREAKIN’ MORNING, NOW GO GET ‘EM” and “Welcome back ~ it’s been a long day. Rest.”

HERO WEEK SEGMENT: Archetypical Hero qualities represented by Saitama

(Why not Genos? Because that cyborg fits the formula all too well. With One Punch Man also being an adaption of a longer-running series, we do not know how the overarching story ends. I have taken those bullets out to accommodate this cut-short adaptation.)

I’ve taken a quick trip to Google to provide qualities of the typical hero. Let’s briefly exercise each prompt:

  • Unusual circumstances of birth; sometimes in danger or born into royalty
    • We assume that Saitama is as average as middle-aged upstanding Japanese citizen as you can get.
  • Comes from humble origins
    • Saitama is about as humble as you can get. You’d frequently encounter him at the local convenient store.
  • Leaves family or land and lives with others
    • Again, we don’t know about his family background, but we can guess he lives alone and has bent his life’s goal on becoming a hero for the fun of it.
  • An event, sometimes traumatic, leads to adventure
    • No trauma here. Just a monster-invaded world that needs a hero to combat evil. I guess he trained daily with “100 PUSH-UPS, 100 SIT-UPS, 100 . . .” yeah, enough of that.
  • Hero has a special weapon only he can wield/always has supernatural help
    • Actually, no. This is just a normal dude who exercised like a maniac to be fit.
  • The Hero must prove himself many times while on adventure
    • It’s quite hard for Saitama to prove himself if every challenge just isn’t challenging. Instead, he must be deemed heroic by the public, and as frustrating as that often is, he somehow manages to push through if even just by a tiny margin. He must also prove a worthy master to Genos and a notable hero for the Association, which though humorous at times, it’s all ultimately not enough to bring about complete development (that is mostly due to it being a mere adaptation).

Notice the lack of similarities between typical heroes? Unlike ERASED’s Satoru Fujinuma, who received supernatural help, fought on to improve himself and save others, and even challenged fate, Saitama is a laughing stock, and his anime, the “proclaimed satire of hero genre” is more just for action and comedy than anything. HOWEVER, Saitama still manages to mangle himself into the hero mold—especially by the end—and I only wish we got more. I’m sure much deeper and emotional struggles await ALL of the cast, but based on these 12 episodes, you’ll walk away giggling rather than contemplating heroism and life as we know it, that blah-blah stuff. We like Saitama because he’s different—because he’s a dork.

Watch One Punch Man for the grotesque, energetic, explosive, out-of-this-world action scenes and the natural hilarity and fun that is Saitama. Should neither of those things intrigue you, then it wouldn’t be a crime to skip it (Genos might say otherwise). I had an epic time with the show, and I’ll leave you with an inspiring quote to contrast the nonsense the anime is more infamously known for. One Punch Man is A-“OK.”

“The true power of us human beings is that we can change ourselves on our own.” – Saitama

ZOOM-BANG-POW! These are my thoughts on 9/10 “Caffé Mocha” One Punch Man. As you can tell, I was pretty darn satisfied with what I signed up for. Most people were. Did OPM satisfy your craving for brutal bashing, or did the quirky facial expressions fuel your smiles? You really ought to let me know! Also, do you have any Saitama or Genos-like figures in your life? I’ve known this guy who’s always trying to do the right thing, but his clunky demeanor and unsuspected heroic deeds hardly ever get credited. Haha, the whole situation just makes me laugh, but should I? ‘Till next time everyone,

– Takuto, your host

This is why people are awesome. See? I’m not crazy. He does look like an egg.