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Virgin Naoki who wanted to join a party clique got a huge debt while pretending to be a cool guy. It was his best friend Kuga who helped him. He introduced him to a high-paid part-time job, which Naoki eagerly agreed to. In the blink of an eye though, gays started aiming for him. Just what should Naoki do?!

Commentary: I can’t say that I’m a big fan of Mr. Watanabe’s directing. The only shows that I truly like by him have strong characters (“Slayers”) or a solid story (“Ys”). The animation in his productions can be choppy and looks low-budget. Shakugan no Shana (Season One) suffers from this, but it isn’t as horrendous as some of his other shows; I’m assuming, because J.C. Staff allotted him with more expenditures and a more talented animation staff. Passable work on Shakugan no Shana, but the characters and story carry the anime more than the visuals or screenplay. Extra commentary on Mr. Watanabe’s style is his issue with conveying dark or night-shaded scenes, the climactic battle against Hectate was less riveting, because it was hard to tell what was going on; I had the same issue with the lighting in “Boogiepop wa Warawanai”!

Commentary: Years before I got around to finishing the first season of Shakugan no Shana, I watched the first seven episodes in Japanese, and let me say, Ms. Germain gives a really accurate portrayal of how Shana is supposed to talk. The only real difference is that Ms. Germain’s voice is more of a nasally cute, and Ms. Kugamiya’s voice is more youthful and high-pitched by comparison. I was really impressed though, Ms. Germain did a great job with the role!

Synopsis: Miho Shinohara is a care-free third-grader and an aspiring manga artist. One day, she encounters Mogu and Pigu — two lost fairies disguised as stuffed animals. In exchange for staying at her home until they find a way to return to their own world, the fairies give Miho a special sketch pad and pencil that enable her to magically create real objects from what she draws. With the pen, Miho can also transform into Lala, a beautiful teenage girl created from her manga art. As Lala, she is discovered by a talent agency, and so begins her adventures from an ordinary school girl to a model to an idol singer. 

The story starts out almost too idyllic for the prescience of a downer ending: a) an eight-year-old girl gets to transform into a teenager, because of a couple of adorable, dinosaur mascots with magic powers, b) she immediately gets scouted by a talent agency because of her good looks, and gets to be closer to her male, idol crush, c) despite “Lala” constantly being late or having to attend elementary school, the firm works around her schedule! The whole script plays out like what a third-grader would imagine a talent agency to function like, and what, despite having zero vocal training (after one session), they say that she’s gifted enough to start performing at concert venues? What an insane progression!

So, to then, end the series by having all of her powers suddenly taken away from her… forever, seemed very cruel. Especially, when everyone at the agency now thinks that she was murdered or something, because she’s a missing person. It even makes it on the news, that the idol singer named “Lala” has gone missing. Miho’s mother is the talent supervisor, so hearing about it at home torments Miho more; and not only that, but when Miho tries to transform using a fusion of her magical sketchbook and her dinosaur buddies’ powers, and the effect of it is… that her small friends disappear… never to be seen again! 

The series implies that she can become “Lala” again, in a few years, after she’s grown up, but what is she going to say… she’s been a missing person for half of a decade by that point, and she’s supposed to just resume her job as a singer, like nothing ever happened? I guess she could introduce herself with her real name and just write off the uncanny resemblance as a coincidence? Or, has the mysterious Mr. Fushigi taken away her powers, to force her to focus on her dream of being a comic book artist? I don’t even know. And then, her make-up artist reveals that he was once greeted by the mystery man and given magical powers, too. What? What, even, is this ending?

Synopsis: Set in England’s Downs, a once idyllic rural landscape, this stirring tale of adventure, courage and survival follows a band of very special creatures on their flight from the intrusion of man and the certain destruction of their home. Led by a stouthearted pair of friends, they journey forth from their native Sandleford Warren through the harrowing trials posed by predators and adversaries, to a mysterious promised land and a more perfect society.

There’s a nice moment, when Tsubasa’s father protects her and she recognizes that it’s okay to see someone, who is biologically her “nephew,” as her actual parent. It was a sweet moment, even though Tsubasa has struggles with the expectations placed upon her by her grandfather and the subsequent mind control that Millaarc inflicts on her. As for the development with Miku, she feels turmoil, from being the outsider of the group… but in the last few episodes, her and Hibiki are able to vocalize how much they mean to one another. 

In this season, the villains and the journey to save Miku were the weakest aspects, by far! The “Custodians” are like the automatons in GX, they are written to be threatening, but any deeper characterization of these antoagonizers is thrown overboard! Speaking of the automatons, the weakest bad guys from Season 3, Carol Malus Dienheim and the gang get brought back, and while the throwback moment is as nice as the shout-out scenes in Fate/stay night: Heaven’t Feel… it doesn’t really do anything to advance the plot. Everything we needed to know about these four, is already in the archives of GX! Their cameo doesn’t really serve a sufficient purpose….