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This Art Club Has a Problem!: Whole-series Review and Reflection

“Every artist dips his brush in his own soul, and paints his own nature into his pictures.” –Henry Ward Beecher

Mizuki Usami is a member of her middle school’s art club, and although she’s devoted to her craft, she struggles to handle her fellow club member, Subaru Uchimaki: although a talented artist in his own right, Subaru is more interested in producing anime drawings rather than conventional art. In spite of this, Mizuki holds feelings for Subaru and struggles to express herself; she manages to convince Subaru to stay in the art club. Later, Colette joins the art club after Subaru helps her in searching for a locket, and instructor Yumeko Tachibana takes up the role as the art club’s advisor. The art club’s everyday life is characterised by chaos and heartwarming moments: from Colette creating a bit of a ruckus after doodling on one of the model heads, to a fellow classmate botching a kokuhaku with Subaru and Mizuki encouraging Subaru in entering a contest after a classmate disparages his work, life in the art club settles into a familiar and comfortable pattern. Maria Imari transfers into their school shortly after, and quickly bonds with Subaru over their common interests, to Mizuki’s displeasure. Despite her chūnibyō tendencies, Maria gets along with everyone, including Colette, who sees her as a master of sorts, and even Mizuki finds that Maria is probably no threat to the status quo, since Subaru appears interested only in fictional characters. The three share more adventures together and even go on a treasure hunt the previous art club left behind, only to find it was an adult magazine. This magazine would later cause the art club some trouble. Later, the art club’s president encounters Moeka, a little girl who’s arrived to find her grandfather: Yukio Koyama, the art club’s former advisor. Outside of their club activities, the art club’s members still must deal with exams: Mizuki and the president are decent students, but it turns out that Subaru and Colette have failed, pushing Mizuki to suggest a home study session. With her help, both pass and are ready to take on the school’s culture festival. With help from Yumeko, the art club prepare a tin can exhibit; despite suffering from setbacks, the art club manages to produce a work in time for the festival. On a rainy day, one of Mizuki’s friends, Kaori, arranges for Subaru to accompany Mizuki home. Later, Mizuki overhears Subaru asking Maria about how to make his feelings for someone whose traits resembles Mizuki’s. Certain it must be her, Mizuki attempts to do a kokuhaku, only to discover Subaru’s referring to an anime character who shares her surname. Although relieved that the status quo at the art club seems to be maintained, she promises to do her best in the future, too. With this, I’ve crossed the finish line for This Art Club Has a Problem! (Kono Bijutsubu ni wa Mondai ga Aru), an anime I was given a recommendation to watch.

Standing in contrast with the usual gamut of slice-of-life anime I typically watch and write about, This Art Club Has a Problem! represents a departure in that this anime is purely comedy-driven. There isn’t an overarching theme, a goal that unifies the episodes or a lesson to be learnt; instead, each episode consists of several, loosely-related vignettes that showcase Mizuki’s everyday life as a member of the art club, and some of the misadventures she goes on as a result of her involvement with some zany, but authentic individuals. Some of these misadventures are particularly well-written: when Colette doodles on a model head and hides it in a box to evade trouble, Yumeko stumbles upon it and faints, leading Subaru to try and revive her while Mizuki fetches help. However, the club president misinterprets the situation, reports it to Mizuki, who goes wild at the thought of Subaru doing mouth-to-mouth with Yumeko, resulting in catharsis. In another moment, after a treasure hunt finds an adult magazine on school grounds, this seemingly-irrelevant object creates trouble for the art club as Subaru and Mizuki try to smuggle it off campus for disposal. Ironically, Maria and Colette were on the search for a grimoire, and Yumeko coincidentally mispronounces the grimoire’s name as being the same title as the adult magazine. When two differing objectives converge, Subaru ends up taking the hit for things, releasing the tension from the moment. In both cases, a comedy of errors is used to create a build-up in tension, culminating in a dawning of comprehension that drives much of the humour. This is where This Art Club Has a Problem! excels, although smaller moments from character dynamics, especially Mizuki’s tsundere traits and the resulting misunderstandings, also allow This Art Club Has a Problem! to elicit laughs during quieter moments. This Art Club Has a Problem! demonstrates how universal elements of comedy (namely, dramatic irony, timing and subversion of expectations) can be successfully utilised in anime without becoming stale. In previous years, it was asserted that works driven by meta-humour were better received critically because self-referential humour was intelligent and demanded that viewers think to get the joke. This is untrue: if one needed possess a modicum of background to understand obscure cultural references or self-awareness, a work has failed in delivering comedy. This sort of thing is something that Steven Chow understood: his movies are universally regarded as excellent examples of comedy because they employ methods that are universally appreciated, making use of timing and subversion of expectations to create absurdity. To enjoy a Steven Chow film, one needn’t have a profound knowledge of Chinese culture. Similarly, here in This Art Club Has a Problem!, the anime is able to convey humour effectively because it utilises means that are universally understood.

Screenshots and Commentary

  • Known as Konobi! in short, This Art Club Has a Problem! is a series that was recommended to me not too long ago. Unfortunately for me, I’ve long forgotten who made this recommendation, but on the flipside, I did get around to watching and writing about this show. The main reason why I took up this recommendation was because I’d already had one anime about an art club in the books, Sketchbook, and I was curious to see how This Art Club Has a Problem! proceeds. Right out of the gates, viewers are introduced to Mizuki Usami, who shares a family name with Locodol‘s Nanako Usami and resembles Uma Musume Pretty Derby‘s Special Week.

  • With a love for the arts and a fiery personality, Mizuki is voiced by Ari Ozawa, whom I know best as Kurumi Ebisuzawa of Gakkō Gurashi, Himena Tokikawa of Yakunara Mug Cup MoYU-NO‘s Yuno and Nozomi Moritomo of The Rolling Girls. Her first act in This Art Club Has a Problem! is punching out one of Subaru Uchimaki’s works in frustration, and the first episode is appropriately-named: “these people have problems”. However, these problems are not derogatory, and it is the case that this particular art club has its share of issues.

  • Half of Mizuki’s problems come from Subaru’s enjoyment for drawing manga characters, and whenever she’s asked to model for him, Subaru invariably renders her as something else: in fact, the only detail he bothers to keep true-to-life are Mizuki’s pantsu, to her great embarrassment. However, whenever accidents befall the art club, Mizuki puts her own embarassment aside for the club’s sake. Early on, after destroying Mizuki’s competition piece by mistake, Subaru and the club president do what they can to distract her. When Mizuki learns the truth, she forces Subaru to submit one of his works as a replacement, and this ends up winning second place, to everyone’s surprise.

  • Colette is introduced into This Art Club Has a Problem! shortly after. She has a similar role to Sketchbook‘s Kate, a foreign student, but unlike Kate, who’s Canadian and relatively new to Japan, Colette’s lived in Japan for several years and has no misunderstandings about Japanese culture. In manner and personality, Colette is a cross between Kiniro Mosaic‘s Karen and Hitori Bocchi‘s Sonoka. Character archetypes are often counted as dull or boring, but they serve an important purpose, giving viewers familiar characters so they can focus on how everyone bounces off one another in different contexts.

  • Mizuki’s friends swing by the art club one day to visit: her feelings for Subaru are a badly-kept secret, and they often intervene to bring the two closer together. From left to right, we’ve got Sayaka (a member of the news club), Kaori (who resembles Rifle is Beautiful‘s Hikari and The Quintessential Quintuplets’s Yotsuba) and Ryōko (a tall girl with glasses and similar vibes as K-On!‘s Nodoka). Here, Kaori challenges everyone to a drawing contest to see who can do the best job, with the loser having to buy everyone else drinks. Kaori ends up getting defeated, creating a scenario where Mizuki shares an indirect kiss with Subaru by means of a drink can.

  • Yumeko is introduced as the art club’s new advisor: she’s a cross between Locodol‘s Saori, GochiUsa‘s Mocha, Saori of Girls und Panzer and Dropout Idol Fruit Tart‘s Hoho, being clumsy and inexperienced, but also kind-hearted and willing to go the extra mile for her students. On her first day, she ends up observing the students, and typically leaves everyone to their own devices: Mizuki is responsible and can be counted upon to work on her art for competitions, while Subaru also produces a good amount of competition-worthy pieces despite being present only to draw manga characters.

  • Although This Art Club Has a Problem! begins in a slower manner, what kicked things up a notch was a comedy of errors that resulted from Colette defacing one of the model heads. When she conceals this in a box to avoid Mizuki’s wrath, she inadvertently knocks out Yumeko, who thought it was a real head. Spotting this prompts Mizuki and Subaru to seek out another instructor for help: while Mizuki finds another faculty member, Subaru grapples with the idea of resuscitating Yumeko via mouth-to-mouth. The club president misunderstands this and hastens to tell Mizuki. The build-up and timing of everything is worthy of Bill Watterson, and from here on out, I became more appreciative of the jokes in This Art Club Has a Problem!.

  • Aside from more intricate jokes that depend on timing and context, This Art Club Has a Problem! also falls upon more conventional jokes: after a bad draw leaves the art club to clean up the school pool, Mizuki and the others take on the task. However, true to the art club’s approach, they end up bringing some paints and make art of Subaru’s choosing. While everyone else has already changed, Yumeko struggles to fit into her swimsuit. Yumeko provides all of the t n’ a in This Art Club Has a Problem!: the opening sequence even has her posing suggestively, and throughout the show, Yumeko’s figure gives her no shortage of trouble.

  • Beyond this, This Art Club Has a Problem! is very disciplined, capitalising on its time to create jokes based around the art club’s misadventures, which result from carelessness for the most part. Here, it turns out the president’s picked up the kind of paint that’s water insoluble: there’s now no way to remove the mermaid everyone’s drawn in the pool. The president is on the hook for this, and chooses to evade responsibility by putting on the same mask Colette had worn earlier. Non sequitur humour is common in This Art Club Has a Problem!, similarly to how Sketchbook and Non Non Biyori operated.

  • Compared to Sketchbook, which had a very large cast and a busy art club, This Art Club Has a Problem! rolls things back: Colette is only a nominal member of the art club, and the president prefers to sleep rather than participate, leaving only Mizuki and Subaru to do related activities. When Maria Imari transfers into their school, a part of me had hoped that she would join the art club, too; she takes an interest in Subaru after learning they both share the same hobbies, and immediately get along, causing Mizuki no shortage of trouble.

  • Her chūnibyō tendencies notwithstanding, Maria is actually quite social and quite astute when it comes to people: she quickly spots that Mizuki’s got a crush on Subaru, and is able to elicit a response when she takes his arm. Originally, this outing had been just for Mizuki: she’d been wanting to get a new bag charm since her old one fell apart, and had been hoping to spend some time alone with Subaru. Mizuki is constantly torn between getting closer to Subaru and trying to conceal her feelings for him to others. At the bookstore, Maria’s antics cause the clerk to inwardly wish this rowdy bunch of students would hit the bricks.

  • On their way back home, Subaru, Mizuki and Maria encounter a tearful child: it turns out his balloon’s caught in a tree, and, unable to reach it, Subaru suggests piggy-backing to increase their reach. Mizuki initially hesitates, but when Maria offers to do so, Mizuki comes around. Mizuki’s been dreaming of such a moment and wishes Subaru would compliment on how light she is, but when he states the opposite, she presses her thighs together against his face in displeasure. In the end, this is unsyccessful: Mizuki is a few inches short, and it takes a jump from Maria to retrieve the balloon from the tree. She returns it to the boy, but loses herself in another soliquay that causes the boy to very nearly lose the balloon again.

  • Although This Art Club Has a Problem! has the characters refer to one another by their family names, I refer to everyone by their given names for simplicity’s sake, and here, I will jokingly remark that Subaru’s name, when rendered in colloquial Cantonese, is “掃把佬” (jyutping sou3 baa2 lou2, literally “broom guy”). In This Art Club Has a Problem!, Subaru’s name is rendered purely in hiragana, and as such, there is no hanzi equivalent to draw a pronunciation from. Here, Subaru and Mizuki are faced with a competitor who apparently knows art theory but lacks the practical skills to back it up.

  • Subaru isn’t particularly bothered, but Mizuki is left indigniant and declares that Subaru will kick his ass. To this end, Mizuki ends up helping Subaru in the competition and even models for him. The competitor remains unnamed, speaking to his insignificance in the context of This Art Club Has a Problem!, and I further see this character as a satire of folks who act high and mighty even though their knowledge of a topic is theoretical. This happens quite often in anime discussions, where some folks take it upon themselves to endlessly (and incorrectly) analyse minutiae in anime without understanding the topic, or the context behind why a particular detail was presented.

  • Fans who care excessively about the theory and whether or not an anime’s portrayal of real-world details is plausible tend to both miss out on the main messages a work strives to convey, and alienate themselves from other parts of the community. This is mirrored in This Art Club Has a Problem!, where the competitor gets wiped and Subaru wins first place. To add insult to injury, it turns out the competitor’s submission didn’t even make it to the stage where it could be featured, and he is promptly forgotten.

  • While in search of another model head, Subaru and Mizuki venture into the unused room next door, but because said room has a faulty sliding door, the pair become trapped in the room. Mizuki’s imagination goes into overdrive, and despite Subaru’s efforts to try and get them out, they are initially unsuccessful. When he attempts using a pocket light to catch the attention of a patrolling instructor, Subaru only succeeds in scaring the living daylights out of Yumeko, who promptly faints. However, when Subaru and Mizuki find some old photographs of the art club’s previous members, they spot another door that leads back to their clubroom. With this, they are able to escape the room.

  • When exams draw close, Mizuki begins studying in earnest, but quickly becomes distracted after hearing Maria and Subaru laughing in the now-open storeroom: they’re leafing through manga volumes the previous art club’s members have left behind. She orders the pair to be more respectful, but the resulting silence similarly bothers her. Despite being a straight-laced student, Mizuki is still prone to childishness from time to time, and worried that Maria will take Subaru from her, Mizuki decides to call a break. This coincides with their finding of a treasure map that was clandestinely left in the manga.

  • Maria’s knowledge of manga is extensive, but she’s unfamiliar with art. Since the treasure map was meant to be for art students, it takes Mizuki’s help to actually locate the prize, which is located on school grounds. Upon reaching the final spot on the map, expectations are high as Maria, Mizuki and Subaru dig for the treasure. To their great disappointment, they find an adult magazine inside the treasure box. Too embarrassed for words, Mizuki closes the box and promise to never speak of this moment again. However, in keeping with This Art Club Has a Problem!‘s approach for humour, the adult magazine promptly returns in the next episode.

  • This time, said adult magazine lies at the heart of a multi-directional misunderstanding between Subaru, the club president, Yumeko, Maria, Colette and Mizuki: the comedy of errors leading up to the final release was masterful, with every little event adding to the moment where Yumeko would ultimately take Subaru to the woodshed for possessing the magazine. Originally, the president had planned to dispose of it, but was reluctant to allow Subaru to do so when he’d offered to take it off-campus. I suppose now is a good time as any to remark that Nao Tōyama voices Maria: Tōyama has a leading role in a large number of the shows I watch (Yuru Camp△‘s Rin and Karen of Kiniro Mosaic immediately come to mind).

  • Later, the competitor attempts to start a rematch with Subaru, and this time, the challenge will be to see who can do a better rendering of Mizuki. Incensed by Subaru’s propensity to modify her, Mizuki roots for the competitor, causing his heart to flutter, and the pressure eventually leads him to fail, leaving Subaru to win by default. Mizuki is, aside from her tsundere traits, an ordinary character in every respect, and her frustrations would likely parallel those of how an ordinary individual might deal with the antics within a fictional world.

  • While the president is cutting class, he encounters Moeka, a four-year-old girl who had previously run into Mizuki and Subaru. It turns out Moeka has a fondness for visual arts and often wanders off on her own to visit her grandfather, who happens to be the art club’s former advisor. It is lucky that Moeka’s misadventures don’t result in much trouble, although her mother does eventually become frustrated enough at Moeka’s treks as to purchase a walking rope to keep Moeka in arm’s reach at all times. After her grandfather scolds her for running off again, he admires the work she’s created and hopes that one day, she can also join an art club.

  • Whereas Mizuki had totally pwned her exams (even going on a treasure hunt isn’t enough to throw her off her game), Subaru and Colette end up getting sucked into an anime and neglect their studies, causing them to fail their exams. Yumeko can actually be quite strict when the moment calls for it, and she prohibits the pair from club activities until they pass their make-up exams. To help them out, Mizuki suggests that they hit the books at her place. The study session does end up being fruitful: Subaru pushes himself to the limits to ensure he passes, and even Colette is putting her nose to the grindstone.

  • An ordinary study session such as this is par the course for what would happen in reality, but since This Art Club Has a Problem! is a comedy, something was bound to happen. Subaru becomes exhausted and asks to crash on Mizuki’s bed, and she consents. However, when Colette disappears, Mizuki is outraged to find her sleeping beside Subaru. In the end, both Subaru and Colette pass their exams: in this case, simply getting distracted was what caused both to initially fail, suggesting that both are reasonably competent students otherwise. In anime with a school setting, I’ve found that series with a particular focus will have characters that tend to perform well enough so that the story can focus on their activities.

  • When Kaori grows suspicious that Maria is trying to take Subaru away from Mizuki, she performs some fieldcraft that is so atrocious that John Clark and Domingo Chavez would roll their eyes. She tries to tail Maria, ends up being burnt and makes no attempt to hold a conversation with Maria. However, she does learn that Maria is genuine, and after listening to Maria speak, concludes that Mizuki’s going to be fine. Kaori is voiced by Sora Tokui, a voice actress I know best as GochiUsa‘s Maya. Hints of Maya are heard in Kaori’s voice: of Mizuki’s friends, she’s the most energetic

  • This Art Club Has a Problem!‘s episodes portray a self-contained story, and while aspects from previous episodes make their way into later episodes, events are given enough separation so that each episode can comfortably fit each story without running over. When their school’s culture festival arrives, Yumeko is filled with a desire to do something for the art club and suggests they do tin-can art to improve their visibility. Everyone’s initially reluctant, since the art club’s focus is more about competition, and since everyone’s also involved with their class’ projects, but seeing how spirited Yumeko is encourages everyone to participate.

  • The process towards building their sculpture, one of Mizuki’s design since it ends up representing the art club, is a difficult one: all of the cans collected must be washed and processed, which tires out the president. Although they begin amassing a decent number of cans, miscommunication results in most of their prepared cans being discarded. The instructor responsible profusely apologises, and with time running out, it seems that the art club won’t make the deadline. However, Subaru reasons that since the theme is using cans from their school, things should be okay as long as the drinks were enjoyed by students. To this end, the art club arranges for a drink rally, and with Maria in their corner, the event is a success.

  • The music in This Art Club Has a Problem! was actually something I found immensely enjoyable. Much as how Sketchbook made extensive use of piano to create a warm, nostalgic tone, This Art Club Has a Problem! also utilises piano to create a sense of melancholy, speaking to Mizuki’s yearning for Subaru to realise she has feelings for him. The incidental music in This Art Club Has a Problem! is varied, with light-hearted pieces complementing the more wistful songs, and this comes together to bring This Art Club Has a Problem! to life.

  • I ended up finishing This Art Club Has a Problem! last Saturday: having now settled into my new routine, I watch anime during lunch break, and on days where I work from home (but don’t lift weights), I can actually get an episode in before my day starts. This has allowed me to move through series at a much higher rate than before, and in this way, I wrapped up This Art Club Has a Problem! very quickly. I am glad to have finished this series: the reason This Art Club Has a Problem! slipped past my radar was because it aired during the summer of 2016, which had been when New Game! was airing.

  • At this point, I’d just finished my thesis defense and had returned home from my Cancún conference to begin my first job at a start-up. I had precious little time for anime, but going through This Art Club Has a Problem!, the art and animation have aged gracefully. Together with its emphasis on humour, and a cast that ends up being very lovable, endearing, I’ve no issues in giving this series a B grade (3.0 of 4.0, or 7.5 on a 10-point scale). Watching the characters bounce off one another and still succeed in their aims shows how despite shortcomings people might have, when their positive traits are allowed to shine, they can accomplish great things nonetheless. For Mizuki and the art club, it means finishing their sculpture on time to display it at their school’s cultural festival.

  • The finale feels more like a dénouement: on a rainy day, Mizuki becomes annoyed when Kaori takes her umbrella, but it turns out this had been a play to get Mizuki closer to him. Although this brings the pair close to a kokuhaku, a misunderstanding defuses things. In a bit of irony, a massive rainfall begun yesterday afternoon and lasted through most of today, bringing 75 mm of rain to the area. While a local state of emergency was declared, meteorologists are suggesting we should be spared of the flooding that ravaged the area nine years earlier. The rain came right as my parents dropped by with a surprise yesterday; they had managed to pick up roast goose from the restaurant downstairs, along with salted egg prawns, a delicious cabbage dish and sweet and sour pork. Goose is normally sold in limited quantities, and it’s a far leaner meat than duck. Today, the rain was joined by 90 km/h wind gusts, although the storm’s supposed lighten up by tomorrow. With This Art Club Has a Problem! in the books, I’ll be looking at Mobile Suit Gundam: Cucuruz Doan’s Island this coming weekend.

In a manner of speaking, This Art Club Has a Problem! is a modernised presentation of 2007’s Sketchbook: like Sketchbook, This Art Club Has a Problem! sees limited character development. Sora spends her day finding new things to draw and deals with the antics surrounding her art club, much as how Mizuki struggles to make her way in a club that only appears tangentially interested in art. However, while there’s no overarching story, no singular objective that the respective art clubs in Sketchbook and This Art Club Has a Problem! strive to achieve, humour underlies both series to showcase how colourful the world of young artists can be: in trying to capture the world on physical media, artists are attuned to things that others might miss, and as a result, are able to experience moments that are spectacular as they pursue their creations. This was particularly prominent in Sketchbook, which had been a relaxing and soothing series. This Art Club Has a Problem!, on the other hand, emphasises the humour resulting from Mizuki’s constant struggle in trying to deal with her feelings for Subaru. While this makes This Art Club Has a Problem! more rambunctious, the experience resulting from working towards an artistic piece is no less significant: Mizuki and Subaru work together to submit a piece for a competition to prove a classmate wrong about Subaru’s work, and the art club ends up building a tin can sculpture together for the culture festival, which allows them to elevate the art club’s prominance and do more around their school, as well. Both Sketchbook and This Art Club Has a Problem! emphasise different aspects of being in an art club: Sketchbook is more introspective and thoughtful, while This Art Club Has a Problem! is more boisterous and in a seemingly contradictory fashion, more melancholy, as well. Romance was not a significant part of Sketchbook, but in This Art Club Has a Problem!, Mizuki’s pursuit of Subaru’s heart is subtly hinted at through things like lighting and incidental music. The emphasis on the rowdiness is a world apart from the laid-back tone of Sketchbook, speaking to a shift in aesthetics in the nine-year gap between Sketchbook and This Art Club Has a Problem!, showing both how even something as quiet as an art club can have excitement, as well as providing an answer for what Sketchbook would’ve looked like had it been produced more recently.

You Never Let Us Down: Watashi ni Tenshi ga Maiorita! OVA Review and Reflection

“If your actions were to boomerang back on you instantly, would you still act the same?” –Alexandra Katehakis

When summer vacation arrives, Miyako reluctantly accompanies Hinata, Hana, Noa and her mother, Chizuru, out to the countryside for a camping trip by the lake. Despite Miyako’s objections, she eventually dons a swimsuit and enters the water to join the others. As the day draws to a close, Miyako ends up helping her mother to set up the tent and begins preparing dinner, before sitting down to make s’mores with the others. When night falls, a strange noise in the bush shocks the group: they find that it’s none other than Kōko, who was originally set to join them but got lost along the way. Kōko recalls her rather one-sided friendship with Miyako, and during Halloween, while Miyako becomes excited to see what costume Hana will wear, Kōko and Yū both appear: it turns out that Kōko’s been itching to have Miyako model her latest creation, and has even managed to convince Yū to help her in persuading Miyako to give things ago. When Hinata, Noa, Kanon and Koyori show up in costume, Miyako is thrilled with how adorable everyone looks. However, Hana is late, and she’s defined expectations by showing up in a rather grotesque costume. Miyako later recalls meeting Hinata after the latter had been born, and how quickly they bonded. With this, I’ve crossed the finish line for Wataten!‘s OVA, which was released with the BDs a few months after the series had concluded back in 2019. Although Wataten!‘s initial premise had raised more than a few eyebrows, the series would come to present an endearing story about how the right influences and experiences can push individuals out of their comfort zone and also temper some aspects of one’s personality so that they may better present themselves and their feelings towards others. In Wataten!, Miyako’s effort to pursue Hana ultimately leads her to lend her own skills and hobbies towards others beyond Hinata, whom she dotes on, and in doing so, Miyako becomes better-adjusted as a result. Wataten! originally left with Hana expressing that, while she’s still occasionally put off by Miyako’s actions, getting to know her better had shown Hana that Miyako’s intentions are genuine, and not something to trivially cast aside.

Wataten!‘s OVA is contingent on viewers having already seen the original televised run: there’s four distinct vignettes weaved together to give viewers a collection of stories that show how Miyako’s changed since Wataten!‘s beginning. It is plain that for Hinata, Miyako is willing to do most anything, and so, when Hinata expresses a desire for Miyako to get out more and experience life more fully, Miyako accompanies Hinata, only to find herself enjoying things more than she’d expected. However, there is another aspect that drives Miyako’s growth: she eventually meets Kōko properly and finds herself shocked at how Kōko views their friendship. From an external observer’s point of view, Kōko regards Miyako the same way Miyako originally sees Hana, going to great (even unhealthy) lengths to win their object of affection over. From the story’s standpoint, Kōko fulfils a very important role. By making Miyako uncomfortable, Kōko is able to show Miyako how difficult she’s making things for Hana. Realising this is what leads Miyako to dial back her emotion: although she still loves Hana very much, Miyako slowly begins to master her impulses so that she’s not frightening Hana away at every turn. Of course, what would really be valuable is if Miyako could express this towards Kōko, as well: like Miyako, Kōko is well-meaning and skillful in her own right, but common sense seems to be defeated by infatuation wherever Miyako is concerned. However, Kōko’s behaviours are not fixed in stone: Wataten! has shown how over time, characters will change for the better as a result of their shared experiences, and consequently, it is not inconceivable that even Kōko could learn to reign things back some to build a more meaningful friendship with Miyako, of the sort that she dreams of in her mind’s eye. Wataten!‘s flawed but loveable characters forms a majority of the series’ charm, making this journey of development particularly enjoyable, and because everyone is distinctly human, this corresponds to the possibility for further stories to be told. This fact is not lost on the writers: a film, Wataten!: Precious Friends will premiere in Japanese cinema later this year to advance things further.

Screenshots and Commentary

  • Because there is a Wataten! movie, I determined that while I’ve got the opportunity now, I should wrap up my journey here before the film releases; I typically leave some time between finishing a series and the OVAs so I can return to them with a fresh set of eyes and determine whether or not the OVA is successful in capturing the same feeling the anime conveyed. The main drawback about my approach is that I have a tendency to procrastinate, and one risk about this is that I’d only realise I’d have an OVA to watch once the movie actually screens.

  • For Wataten!, the only thing I know of the release date is that it’s somewhere in the autumn, and given how anime films release, overseas viewers usually have an eight to eleven month long wait. As such, I’ll probably get to writing about the movie next September or so. Although I initially passed over Wataten! as a result of my schedule and struggled to regain my motivation in watching this series, I ended up doing so earlier this year. For my troubles, I was met with a series that proved surprisingly heartwarming and amusing despite its initial impressions.

  • Having said this, Wataten! getting a movie came as a bit of a surprise for me: the TV series had ended on an excellent note, and this OVA acts as an encore of sorts. From a thematic perspective, Wataten! had done a thorough job of portraying Miyako’s growth: she starts as someone who exudes questionable tones but, as a consequence of being open to new experiences, slowly acclimatises to interacting with others. The anime closed with Hana remarking that, while she still finds Miyako a little dubious at times, seeing her try so hard to be her best self has convinced Hana that they can be friends nonetheless.

  • Although she’d not brought a swimsuit and was intending on doing some photography, Noa and Chizuru both planned ahead: it turns out that Kōko has Miyako’s measurements on hand (and now that I think about it, Kōko feels like she’s into Miyako to a much greater extent than any of the stunts Miyako herself had pulled when trying to persuade Hana to cosplay), and both Noa and Chizuru had anticipated some resistance from Miyako, so they’d bought a swimsuit for her using this knowledge and even prepared a waterproof case for her camera.

  • The camping trip in the Wataten! OVA would suggest that while Miyako is more receptive towards hanging out than she had been previously, it still takes a nontrivial amount of effort to get her to do so. Hinata is particularly versed at coercing Miyako into doing things, and in retrospect, this is no similar than Miyako attempting to win Hana over with sweets. The joke here, then, is that despite being quite a ways older than Hinata and the others, Miyako is still child-like in some ways.

  • Back in Wataten!‘s OVA, Miyako ends up being dragged into the water, where she finally relents and joins the others. This outcome speaks to how everything can seem more imposing than it is, but once gets over that initial hurdle, it becomes easier to continue. For Miyako, now that she’s actually in the water, she’s able to relax a little and live in the moment, joining Hinata, Hana, and Noa in enjoying the lake water. The same holds true in reality; once the inertia of starting something is overcome, one will typically find it easier to get into things, whether it’s a new project or anime.

  • This particular camping site is located in a generic location: Wataten! is a series where the focus is on the characters, rather than the characters and their surroundings. In series that allow it, location hunts are an immensely enjoyable activity, allowing me to explore a setting and feel as though the events of a given work could’ve really happened. Conversely, in series that are set “somewhere in Japan”, the message I draw is that the characters are the sole stars in the show, and that the events of that story could happen anywhere and still succeed in conveying its themes.

  • As a safety measure, everyone’s donned life jackets to ensure they don’t sink in the lake: unlike beaches seen in other series, there are no lifeguards around, but fortunately, Hinata, Noa and Hana are well-behaved and keep close to shore. In this way, what started out as something she was disinterested in becomes a morning of bliss for Miyako, and in the OVA, it does feel as though the effort needed to persuade Miyako to participate was much less than what it’d been when Wataten! first started.

  • I first had their poutine when I was doing my open studies term. I vividly recall watching Tamayura ~More Aggressive~’s finale during a lunch break during mid-Autumn, and in fact,  The Fried Chicken Poutine is one of the simpler poutines on the list of poutines I’ve tried, but Waffles n’ Chix delivers such a good poutine that, when food trucks began regularly appearing on campus, I made it a point to have lunch there at least once a year. After entering graduate school, I remember enjoying this poutine again after a getting Unreal Engine set up for my thesis work, and again when I finished watching Gakkō Gurashi. According to the blog archives, they used to add a dash of maple syrup to their poutines, and while this practise stopped in 2015, their poutine remains top-tier, the perfect fuel for a busy, and productive day.

  • Back in Wataten!‘s OVA, while Hinata, Hana and Noa get dinner set up, Miyako and Chizuru pitch the tent before joining the others for dinner. Barbeque is a popular activity in Japan during summers, although anime portray skewers and thinner cuts of meat as being popular, whereas over here in Canada, barbeque means burgers, hot dogs, wings and whole steaks. I’m moderately competent with cooking, but grilling is an area I’d love to get into: there’s something immensely satisfying about the sizzle of meat on a fire, likely a consequence of our evolutionary origins.

  • It takes Chizuru a bit to light the coals, bringing to mind a similar moment from Yuru Camp△ when Rin struggled to get her binchotan fire going. While the others become worried after the third attempt, it turns out there’d been some fire starter floating around that greatly accelerates the process, and finally, the fire’s hot enough to cook on. Having watched Survivorman for as long as I have, in the absence of any additional fire-starting material like paper, my first inclination would be to gather dried leaves, punky wood, small twigs or pinecones to start the fire, and then add larger twigs or small branches to keep the fire going.

  • One returning joke from Wataten! is Hana’s propensity to butcher even the most basic of meal-prep: the slice of meat she lays on the grill crumples and falls through the grating into the fire, being burnt to a crisp in the process. Worried Hana will burn up their stockpile, Noa offers to lay the meat on the grill. Being bad with food has long been employed as a comedic device, there is a biological basis behind clumsiness: opposing dominance between one’s hands and eyes create a delay in spatial-visual perception, resulting in errors in coordination that manifest as clumsiness.

  • The TV series had presented Chizuru as being a little intimidating (she once tied Miyako to the ceiling for having spoiled the girls’ appetites), but as the anime continued, it becomes clear that she loves her children very much. Now that I think about it, Chizuru somewhat resembles OreGairu‘s Shizuka in appearance, and here, she introduces Hana, Hinata and Noa to the idea of toasting marshmallows over an open fire. This is a longstanding camping tradition that’s seen in virtually every portrayal of camping on television and in film; recalling this piqued my curiosity, and I found myself wondering how marshmallows came to be an indispensable part of camping.

  • As it turns out, marshmallows were originally intended as a medical supplement, with sap from the Marsh Mallow (Althaea officinalis) plant being mixed with white meringue and rose water to form a candy that could help soothe the throat and boost immune response. Because Marsh Mallow sap is difficult to gather, in the 1900s, confectioners eventually replaced the sap with corn syrup and gelatin, forming today’s marshmallows, and although the origins of marshmallow roasting is lost to time, it is thought to have coincided with when s’mores became popular. After Hana’s luck runs out when she overcooks her marshmallow on one side, causing it to fall off the stick, Chizuru gives Hana an alternative recipe that is less likely to fall.

  • The addition of a roasted marshmallow to crackers produces a ‘smore, and Hana digs in. Watching Hana eat has always been adorable: I liken it to watching rabbits eat, something that I also find immensely cathartic. From what I’ve read, adorable things resemble children and activate the brain’s amygdala, triggering a release of oxytocin, which helps defeat stress. The reason why this is hardwired into people is to promote looking after offspring, and moé anime have made a science of this: such series elicit the same sense of warmth as one might experience when watching videos of small animals.

  • When night falls, Chizuru falls asleep immediately, and the bushes suddenly begin rustling. Since this is Wataten! and not a horror flick, it turns out the source of this commotion is none other than Kōko, who was apparently invited along with everyone but got lost in the process. The OVA subsequently transitions to a flashback of what Kōko makes of her friendship with Miyako: even back in high school, Miyako had been introverted and stoic, but Kōko saw this as Miyako having an aloofness about her that made her particularly appealing. However, Kōko struggled to break the ice, and settled for following Miyako around.

  • The transition over to Halloween is smooth: one of the things I particularly liked about the Wataten! OVA is how the transitions between the vignettes were handled. After realising it’s Kōko who’d been given them a scare, the OVA portrays Kōko’s perception of her relationship with Miyako, and this ends with a scene of Kōko walking past Miyako’s house with Yū. In the present, the story returns to Miyako, who’s positively aglow with excitement at the thought of seeing Hana in a Halloween costume.

  • When the doorbell rings, however, it’s Yū and Kōko who show up. Yū was a very welcome part of Wataten! despite having made only a few appearances: she’s even younger than Hinata, Noa and Hana, and befitting of a child, brings with her an adorable aura that adds to Wataten!‘s already cuddly and warm atmosphere. It turns out Kōko’s brought Yū along as a secret weapon of sorts: there’s a cosplay she’d been wanting Miyako to model, and figured this would be the best way to convince Miyako without going to further measures.

  • Kōko herself is dressed as Wendy from Where’s Waldo: created in 1986 by Martin Handford at the behest of David Bennett, Where’s Waldo features intricate drawings that require players to locate the iconic character. Earlier iterations just featured Wally (Waldo in North America), but later books would feature lookalikes and additional characters to find. Over the years, Where’s Waldo challenges have become progressively difficult, and here in Wataten!, I imagine that this would be the easiest game of Where’s Waldo anyone would have the opportunity to play.

  • Thanks to Yū, Miyako reluctantly agrees to wear the costume that Kōko’s made for her. It’s a perfect fit, and also indicates to viewers that while Miyako wears a tracksuit which conceals her figure, she’s technically no slouch in appearances: it’s commented that if Miyako were to spend a little more time tending to her own appearances as she does on her cosplay and cooking, and go out more often, she’d probably turn a few heads, although her reaction suggests that she’s unlikely to be fond of this outcome.

  • Miyako’s look of mortification says it all; for me, more so than Hana’s initial cold attitudes towards Miyako, it’s Kōko that evokes the strongest change in Miyako. While Kōko is very overbearing and even resembles a yandere at times (albeit without the violent tendencies), when the chips are down, she genuinely looks up to Miyako and has stepped up to help Miyako out previously. Assuming one could accept that Kōko’s tendencies are probably here to stay, Kōko is a good person to have in one’s corner. With her desire to see Miyako wearing her outfit satisfied, Kōko and Yū take off, giving Miyako time to change back into her usual outfit.

  • Later, Hinata arrives along with Noa, Kanon and Koyori. In a turn of events, everyone’s dressed up precisely as Miyako had envisioned in her mind’s eye (with the key difference that Miyako had imagined Hana wearing all of the outfits). Halloween has always been a fun time to dress up and get candy: this tradition is one that I grew up with, and as a child, I went as a wizard. Once I hit secondary school, I kitted myself out in an old karate gi and went as a white belt for the in-school costume event. In university, I picked up a basic Stormtrooper costume, although I’ve never bought a blaster to go with said costume.

  • Trick-or-treating used to be quite popular in my old neighbourhood, but as the demographic aged, we’d received fewer and fewer visitors, until the global health crisis hit and we sat the event out. Having now moved, I’m not too sure how trick-or-treating works now that I’m not in a detached house. However, old traditions, namely watching both It’s The Great Pumpkin, Charlie Brown and Garfield’s Halloween Adventure, have endured. Regardless of whether the HOA’s rules allow for trick-or-treat or not, I do plan on picking up some KitKats (my go-to Halloween candy) and watching my favourite Halloween specials.

  • The joke’s on Miyako, who’s noticed that Hana’s late: the observant viewer will have noticed that including Miyako herself, all of the costumes that she’d imagined have now been shown, so whatever Hana’s brought to the table will be something else. The humour in this scene comes from the fact that viewers will be well aware of the fact that Miyako is expecting something adorable, but Hana will almost certainly defy expectations in some way. This comes to pass as soon as Hana shows up: while Hana herself may have captured Miyako’s heart, her definition of cute stands in stark contrast with the norm.

  • Viewers are thus left to take in the situation, and Wakaten!‘s OVA switches over to its final vignette, a flashback to how Miyako became close to Hinata. Even before Hinata was born, Miyako had been most excited to finally meet her younger sister: she’s holding a stuffed penguin in anticipation, and it’s clear that Miyako has probably asked Chizuru on how to properly hold a baby: the cradle hold is one of the easiest positions for infants, with one hand supporting the baby’s head and neck, and then the other hand supports the baby’s bottom to create a cradle of sorts.

  • From the very moment Miyako meets Hinata, she begins to realise that she’s important to Hinata: although Hinata had suddenly begun to cry, seeing Miyako soothes her, and she suddenly begins smiling. This is a sign that the sisters are closer than Miyako realises here; in this moment, Hinata’s smile is more of a reflexive smile, a response to a comforting situation, but a baby’s smile is still precious, and Miyako is immediately filled with joy to be holding Hinata. From this moment on, the sisters are as close as can be, bringing to mind the likes of K-On!‘s Yui and Ui, and GochiUsa‘s Mocha and Cocoa.

  • With this last vignette, the Wataten! OVA draws to a close, and I’m left in a position where I’m as caught up as can be for Wataten!. I don’t mind admitting that while Wataten! had been on my radar since I read the season previews back in 2019, my own doubts about the series after one episode and the fact that my schedule at the time had been quite overwhelming, so Wataten! ended up falling off my watchlist. I am glad to have picked the series up again; time and time again, I’ve found that whether they’re series on my own list, or from recommendations, I tend to enjoy most of the anime that I watch to completion.

  • Of late, I’ve finally begun my journey into Konobi (Kono Bijutsubu ni wa Mondai ga Aru! or This Art Club Has A Problem!, not to be confused with the currently-airing Kenobi): I started Konobi on recommendations from one of my readers, and although I can’t quite place when I received the recommendation, at the very least, I’m watching the show now. I’ll reserve my final thoughts on Konobi once I finish, but I can say that I’m thoroughly enjoying this series and will be writing about it in full once I cross the finish line. In other news, Battlefield 2042‘s finally got an update: titled “Zero Hour”, it will see the addition of a new map that I’m excited to try out.

  • Overall, I enjoyed Wataten!‘s OVA: this addition to the series doesn’t extend the thematic elements explored in the TV series, but instead, represents a chance to simply see the characters again before the film releases. Seeing how close Miyako and Hinata were ends up being a fitting way to enter the movie, and while I’ve no idea what the film will entail, experience suggests that Precious Friends will likely scale things up in Wataten! for the silver screen similarly to how Kiniro Mosaic: Thank You!! had. Time will tell where Wataten! goes with its movie, and while the release date is a ways off for us overseas viewers, I will aim to write about Precious Friends once it’s available.

While Wataten!‘s first episode may have started things on a rough footing for viewers, folks with the patience and maturity to continue the series would ultimately find it to be a heartwarming tale of how love pushes people to be their best selves. That a film is in production speaks to Wataten!‘s staying power: not every anime series will receive a theatrical adaptation, so the fact that Wataten! is getting a movie means that reception to the series in Japan has been positive. There’s hardly any controversy surrounding Wataten! in Japan, standing in sharp contrast with some reception of the series at some North American anime news outlets. Cultural differences are not responsible for this gap; Wataten! deals with how people handle and respond to falling in love, and while different cultures may approach things differently, the process is one that people can universally relate to. As such, if Wataten! had indeed been a sub-par portrayal of these topics, its reception in Japan would have been sufficiently poor so that no movie project would have been approved. The existence of a movie similarly speaks to the fact that this series was well-received in Japan, and moreover, viewers overseas have also spotted Wataten!‘s merits and joys. Because there is a movie, the conclusion is simple enough; reception to Wataten! is positive, and the initial flaws (largely a consequence of Miyako being completely unfamiliar with social convention) are swiftly overshadowed by what the series does well in its portrayal of how meeting Hana acts as a catalyst for Miyako to better herself and become more socially apt. Since Wataten! had been a story of showing how Miyako’s experiences become the agent for her growth, one wonders what would await viewers in Precious Friends. Without much more known about what the film will cover, one can reasonably surmise it’ll be a heartwarming and humourous story; I’m certainly excited to see what’s on the horizon. Given the film is estimated to hit Japanese cinema in the fall of this year, I estimate that overseas viewers, like myself, will have the chance to watch Precious Friends once the spring or summer of next year arrives.

Lucky☆Star OVA: Review and Reflections After Another Long Weekend

“I take time to watch anime. I don’t know whether I’m allowed to, but I do it anyway.” –Larry Wall

A year after Lucky☆Star‘s airing concluded, Kyoto Animation released an original video animation for the series. This OVA consists of six acts; the first details the day of Minami’s dog, Cherry, and what occurs when various friends, including Miyuki, Patricia, Yukata and Hiyori visit. Minami is saddened to see Cherry disinterested in her dinner. Later, Kagami and Tsukasa accompany Konata and Nanako play an MMORPG. While Kagami is frustrated by the gamer-speak Konata and Nanako use, Tsukasa struggles with the game mechanics. During Golden Week, Nanako ends up power-levelling since she has nothing better to do. When Kagami falls asleep while house-sitting, she dreams about being whisked away to a Cinderella-like ball by Konata, which turns out to be a martial arts tournament. Konata’s magic depletes as Kagami returns home, leading Kagami to reluctantly recite an embarrassing spell that she says aloud, to Tsukasa’s shock. Later, Tsukasa attempts to become more noticeable by beating Kagami’s team in volleyball, but ends up failing and laments that she’ll remain a side character. The penultimate act has Miyuki recall a misadventure where their group wound up lost, and despite attempting some survival tactics, ultimately are found when Konata re-enters an area cellular coverage. Although a furious Nanako lectures them, she ends up relenting and sits the four down to a late dinner. The OVA closes up with a horror-themed segment where Konata, Kagami, Tsukasa and Miyuki somehow end up becoming frogs after visiting a strange pet-shop, and a live-action Lucky☆Channel segment. This unusual collection of shorts was originally intended for release in June 2008, but production issues pushed it back to September 2008. While retaining the whimsical charm of the original series, the Lucky☆Star OVA also presented Kyoto Animation a chance to explore both side stories that occurred in parallel with Lucky☆Star, as well as a fantastical and non-sequitur moment through its penultimate act. In addition to being a fun addition to the series, the Lucky☆Star OVA represents providing Kyoto Animation a means of experimenting with different visual effects: the MMORPG segment is rendered entirely in the 3D aesthetic of a JRPG, and Kagami’s going to the ball similarly presents a chance to play with particle effects. All of this is wrapped up in an addition to Lucky☆Star‘s repertoire of amusing anime jokes, so as far as experiences go, the Lucky☆Star OVA earns a passing grade.

It comes as a bit of a surprise to me that until now, I’ve never actually sat down and watched the Lucky☆Star OVA in full: previously, I’d caught glimpses of things like Kagami’s ill-fated attempt to dissuade Konata from taking her to the ball, or the MMORPG segment. In retrospect, I’m glad to have done so: while this series of vignettes does not add much to Lucky☆Star in the way of story, it does represent forty minutes of comedy. My favourite of the acts are, unsurprisingly, the MMORPG segments, which has Konata and Nanako discussing their game in gamer-speak (incorrectly identified as 1337-speak in most other places online), and Kagami’s attempts to dissuade Konata from taking her to the ball. The former is hilarious because, even though I’m not an RPG fan by any stretch (I enjoy games of the genre, but do not put in a large amount of time into things), I fully understand and follow the conversations Konata has with Nanako. Similarly, Kagami’s going to the ball and being kitted with Miku Hatsune’s outfit from Vocaloid was hilarious. While Lucky☆Star has previously shown Kagami as being tsundere with a short fuse, her anger at Konata here was taken to the next level. The Lucky☆Star OVA also brings with it surprises: Tsukasa has always been a quiet, shy character, but her being defeated in volleyball proved surprisingly poignant. Although she’s a lead in Lucky☆Star, her counterpart in CLANNAD was indeed a secondary character, so this may have been a callback to CLANNAD. Miyuki’s recounting her group getting lost in camping also proved heart-warming. With a combination of bad jokes (courtesy of Konata) and warmth (Nanako relenting in the end), this vignette shows how additional time can be used to create additional contexts for the characters to bounce off one another in. I was not particularly fond of the first or final acts, although even these have their moments, and beyond the likes of CLANNAD, numerous other series are referenced. Konata’s costume references Yuki’s witch costume in The Disappearance of Haruhi Suzumiya, while the “jet stream attack” is a callback to Mobile Suit Gundam‘s Black Tri-Stars. Kagami also promises not to absorb a soul, a reference to Soul Eater. Despite a weaker opening and ending, the Lucky☆Star OVA still offers a solid experience in bringing back the antics and characters to a series that gently parodies the demographic who would be most likely to watch and enjoy such a show.

Screenshots and Commentary

  • Although the Lucky☆Star OVA’s first vignette opens up in a light-hearted, comical manner, a day’s worth of trouble causes Minami’s dog, Cherry, to lose her appetite during dinner, leaving Minami saddened. Each of the stories in the Lucky☆Star OVA are standalone tales that, while lacking context, provide an additional chance for the characters to interact with one another. I would imagine that a day of attention has left Cherry exhausted, but there was a melancholy about this first act that made it a little trickier to follow.

  • Lucky☆Star began with a focus on Konata, Kagami, Tsukasa and Miyuki, but as the series continued, the cast expanded greatly: the show had already been quite lively even with just four central characters, but adding Yutaka, Minami, Patricia, Hiyori and Izumi created a much deeper, richer world. With twenty-four episodes, Lucky☆Star harkens back to a time when creators had more breathing room to produce anime. Today, studios work on multiple series simultaneously, so things like Gundam SEED wouldn’t be possible: year-long projects divert resources away from other series. It would be exceedingly rare for slice-of-life series like Azumanga Daioh and Lucky☆Star to receive 2-cours out of the gates, and studios would instead split the series up into several seasons, so they can work on other projects, and continue on with additional seasons only if profits are good.

  • Of the shorts in the Lucky☆Star OVA, the MMORPG act stands as one of my favourites; it follows Konata, Kagami and Tsukasa playing through a game together with their instructor, Nanako Kuroi. While Konata and Nanako are experienced veterans, Kagami is able to keep up, but poor Tsukasa struggles with the game mechanics, and at one point, states that she had assumed that spell levelling was automatic. Tsukasa of Lucky☆Star had been a little air-headed but adorable in her mannerisms, unfamiliar with the otaku world that Konata, and to a lesser extent, Kagami, know of.

  • One aspect of this vignette I enjoyed was the fact that I was able to follow everything Konata and Nanako converse about; I’m not anywhere nearly as versed in RPGs as I am in FPS, but I became familiar with the terminology, and enjoy the genre, as a result of a friend’s private Ragnarok Online and World of Warcraft servers from back when we were secondary students. I will note here that the RPG jargon Konata and Nanako use isn’t “1337-speak”: it’s simply RPG shorthand. Proper 1337-speak include things like calling people n00bs, pwning foes and the like.

  • Kagami’s reaction to Nanako and Konata picking up brand-name items in-game is my own: I prefer playing games without the inclusion of exclusive items that may break gameplay. As the group go through their game, Konata, Kagami and Tsukasa note they will be offline to enjoy Golden Week, and come back to find that since Nanako had nothing better to do, she ended up power-levelling her character. Nowadays, I spend most of my long weekends out and about, enjoying the weather, do things I don’t normally do and sleep in.

  • Of all the shorts in the Lucky☆Star OVA, my favourite is when the Hiiragis go to a ball of sorts, leaving Kagami to house-sit. She falls asleep, and is surprised to find Konata at her place, insisting that Kagami secretly also wanted to go but was too tsundere to admit it. Whimsical and fanciful, this Cinderella-like arc is charming and amusing, as well: Kagami in Lucky☆Star had reigned back her tendencies somewhat and only ever expresses mild frustration wherever Konata is concerned, so dropping the pair into a dream-like world means opening things up to more outrageous moments.

  • It is here that Lucky☆Star‘s reference to other series become visible: having now seen The Melancholy of Haruhi Suzumiya in full, it’s easy to spot that Konata’s witch outfit is a deliberate call-back to Yuki’s costume for their movie, complete with a crude wand named similarly to the wand Haruhi supplied Yuki with. It is generally accepted that one should watch The Melancholy of Haruhi Suzumiya before Lucky☆Star so that all references can be understood, but in my infinite wisdom, I ended up watching Lucky☆Star first. I was moderately familiar with The Melancholy of Haruhi Suzumiya at that point, so I appreciated some of the call-backs, but it wasn’t until I did rewatches of both that the genius of said call-backs became apparent.

  • Lucky☆Star makes numerous references to other series, and as a result, is seen as a series for otaku: it is crammed with references to older works, and to an unseasoned viewer such as myself, there are many things that can feel unfamiliar. This is the reason why reception to Lucky☆Star among English-speakers is so mixed. Lucky☆Star draws most of its humour from the non sequitur conversations resulting from Konata’s profound knowledge of otaku subculture, and the frustration this creates in Kagami. As a result, some of the jokes can be difficult to follow and feel out of place as a result.

  • Conversely, those who are familiar with otaku subculture, anime, manga and Japanese games will find themselves right at home. The dramatic differences in reception towards Lucky☆Star is precisely why I hold that there is most certainly not a single, universal and objective metric for gauging slice-of-life works. Enjoyment of Lucky☆Star is entirely dependent on one’s background, hobbies and interests, so what may be flat and uninteresting for one viewer may be a hilarious and thoughtful parody to another viewer.

  • The highlight in the Cinderella vignette occurs when Konata decides to swap out Kagami’s outfit for something a little more befitting of an event. After Kagami rejects the maid and miko outfits, Konata gives Kagami Rin Tōsaka’s outfit from Fate/Stay Night. Rin is probably one of the most iconic tsundere characters around, and it is befitting of Kagami. However, when even this is turned down, Konata decks Kagami out in Miku Hatsune’s outfit for kicks, complete with the giant green onion. I’ve never understood the green onion piece, but from what little I know, it’s supposed to be significant for some folks.

  • When the little star falls from Konata’s wand, Konata is unable to restore Kagami to her original clothing: to the best of my recollection, this is the angriest that Kagami gets in Lucky☆Star, and she’s a few seconds away from kicking Konata’s ass. Despite the simplicity of the art in this scene, Kagami’s indignation can be felt, showing how expressive anime can be. Luckily for Konata, she and Kagami arrive at the venue before anything else can happen, and viewers are greeted by the sight of a martial arts tournament of sorts, where participants fight for Misao’s hand in marriage.

  • In Lucky☆Star, Misao joins the main cast later on, being a spirited and athletic character who prefers track and field, and video games, to studying. Although I suppose it would’ve been fun to see Kagami actually fight, in dreams, one’s personalities and inhibitions might still be present: much as how in my dreams, I still act as I normally would in reality, everything Kagami does in her dream is consistent with how she typically acts in Lucky☆Star. Konata doesn’t push the point and prepares to take Kagami home, but delays mean her own magic wears off, leaving Kagami in a bit of a pickle. Konata reveals an embarrassing pass-phrase that would restore everything to normal, and as Kagami awakens from her nap, she recites this out loud, to Tsukasa’s horror.

  • What Kagami says exactly has been the subject of no small discussion and remained a bit of a mystery for the past 13 years: half-asleep, she slurs the go…kitai. If I had to guess, “ご一緒に行きたい” (Hepburn goissho ni ikitai) would probably be the closest to what Kagami says: literally meaning “I want to come together with…”, it’s probably a euphemism of sorts. Although the OVA cuts the line out to avoid trouble, Tsukasa’s reaction says everything the viewer needs to know. Fans have long felt that Kagami and Konata would make for a good couple, and while it is true that banter between the two forms some of Lucky☆Star‘s best comedy, there is no evidence otherwise to suggest this is the case.

  • Misunderstandings in anime are amplified by the use of time and space; Bill Watterson has, in special collections of Calvin and Hobbes, spoken to the idea that humour also entails giving viewers time to let the outcomes sink in. In newspaper comics back when panels were large enough to support this, it would mean making use of visual breaks and empty space to create an impression that time had passed. Anime is able to use pauses to achieve the same effect, giving viewers a chance to spot what’d just happened to Kagami, and really laugh at the predicament she’s now in.

  • For me, the fourth act was probably one of the more saddening ones; tired of being a secondary character in Kagami’s shadows, Tsukasa resolves to win a volleyball match over her. Mid-match, Kanata suggests using the “Jet Stream” attack: this is an iconic part of Mobile Suit Gundam, when the Black Tri-Stars line their mobile suits up in a line, with the front suits equipping ranged weapons and creating enough of an opening for the final mobile suit to use melee weapons to finish off a target. Gundam SEED Destiny has a trio of ZAFT pilots using the same manoeuvre to devastate their foes, although one must wonder how well this trick would work in volleyball.

  • However, despite her best efforts, and even with Kanata’s unexpectedly good physical ability, Tsukasa ends up taking a ball to the face and ends up smashing the ball into the net, costing her team the match.  There was something heartbreaking about seeing Tsukasa stumbling, only to get back up and continue trying her hardest, although not all viewers feel the same way, finding the punishment that Tsukasa endures to be hilarious. Lucky☆Star is a comedy, after all, but for me, I’ve never really taken enjoyment in watching people suffer unnecessarily.

  • The arc where Konata, Kagami, Tsukasa and Miyuki get separated from their group while on a school trip offered some interesting humour: since they’ve got no cell reception, and Konata’s left the compass and map on the bus, the four can only wander the forest in the hopes they get back together with their class. Here, Miyuki is referred to as Miwiki, a callback to the fact that of everyone, she’s got a broad range of knowledge on wide topics. After attempting to ration their food and navigate the forest, Konata is surprised to learn she’s getting a call.

  • It turns out Nanako had been trying to call them for quite some time and is furious with them at having gotten lost. Here, I am reminded of the similarities between Lucky☆Star‘s artwork and what’s seen in Miss Kobayashi’s Dragon Maid, which came almost a decade after Lucky☆Star. Kyoto Animation excels in both series where visual fidelity is life-like, and in series with a much simpler design: irrespective of whether or not the world is highly detailed or more basic, the animation is always smooth and fluid. I felt that here, Nanako bears resemblance to Kobayashi., but soon, her indignation evaporates, and she invites everyone to grab some curry as the day draws to an end.

  • Now that I’ve finished watching the Lucky☆Star OVA, I believe I’ve finished off everything in Lucky☆Star. I’ve heard that a spin-off, Miyakawa-ke no Kūfuku, was released in 2013: this series follows a different set of characters but is set in the same universe. I am curious to give this one a go, although per my modus operandi, I can only say that I’ll watch this one once I’ve got the chance. Looking ahead for what I’ve got lined up here, beyond a talk for Kiniro Mosaic: Thank You!, I also am looking to wrap up My Dress-Up Darling on short order and do an introspective post on how my MCAT preparations were going a decade previously.

The Lucky☆Star OVA represented a hidden addition to the series after it’d released back in 2008, and although this OVA is not necessary to a complete Lucky☆Star experience, I imagine that fans of the series would nonetheless wish to check it out for themselves such that they can wholly enjoy the series. The challenges of being an anime fan harkening back to a time when broadband and streaming services was practically nil are apparent: in this era, the viewing rooms at anime conventions became the de facto means of checking series out. This was often the only time fans could try out different series and expand their horizons: visitors to anime conventions even planned their days so that they could strike a balance between guest panels and autograph sessions, and viewing series of interest. Nowadays, with ubiquitous fibre internet and streaming services, viewing rooms have been rendered obsolete: one could easily watch their shows at any time of year, on any device of their choosing. In my experiences, I’ve seen how viewing rooms can be seen as a burden on conventions. When I had volunteered at Otafest back in 2019, the viewing rooms were nearly vacant when I made the rounds of them to check in on things. As early as late 2014, the viewing rooms had already been on the decline: I had ducked into a room screening GochiUsa to catch my breath, and it was empty. A pair of attendees came into the room, saw GochiUsa on the screen and promptly left. My experiences have made a clear case for why conventions should consider reducing the number of viewing rooms they have. Otafest screened the first six episodes of The Aquatope on White Sand as a part of its lineup this year, a series I finished five months earlier. Were I in attendance at Otafest this year, I wouldn’t have planned my day around catching The Aquatope on White Sand, and I imagine that most visitors would be present for activities such as panels, exhibitors, musical performances and cosplay contests, which to remain popular: as anime conventions move forward, the viewing room will likely represent a drain on resources, requiring a convention to pay for both additional square footage of space to rent, and licensing fees to stream the shows. Arguments to preserve viewing rooms, beyond the fact that they are quiet spaces for fans to catch their breath, such places are essential for allowing socialisation and allow visitors sample a series before deciding whether or not one should get into it. While there is merit in this perspective, I contend there is limited value in showing recently-aired series. Instead, fewer rooms, showing more obscure and difficult-to-access content, would offer attendees with more value, while at the same time, continue to provide visitors with an oasis of sorts to take five. Difficult-to-access content, today’s equivalents to the Lucky☆Star OVA, would be perfectly suited for the re-imagined viewing rooms, allowing attendees to view shows that they might otherwise not have a chance to. While the technology and accessibility has advanced dramatically since the Lucky☆Star OVA’s release in 2008, some series still remain remarkably tricky to get to, and many of these series deserve to be enjoyed.

A Party at the Grand Base- Azur Lane: Slow Ahead! OVA Review and Reflection

“Take it easy, because if you start taking things seriously, it is the end of you.” –Jack Kerouac

With a party scheduled for the following day, Javelin decides to head on over to the gymnasium and show Laffey, Ayanami and Z23 her dance moves. Here, they find Sirius still attempting to practise for her waitress duties so she may impress the Commander during the party, and despite their best efforts, Sirius succumbs to various accidents during training; she becomes visibly flustered at the thought of serving the commander. Later, South Dakota and Massachusetts show up, hoping to practise ahead of the party. It turns out they’re slated to play a piano duet here. When they begin playing, Javelin, Laffey, Ayanami and Z23 appreciate the performance. On the evening of the party, South Dakota and Massachusetts perform while festivities are under way. Laffey enjoys herself with the food, while Sirius appears to have overcome her clumsiness and is able to serve. Javelin lets loose on the dance floor and ends up colliding with Sirius, resulting in some laughs from the other party-goers. This is about the gist of what happens in the special that was bundled with Azur Lane: Slow Ahead!. Airing last year, Slow Ahead! had been a slice-of-life spinoff that portrayed Javelin’s life on base after the main series’ events had concluded. At this time, Ayanami has joined Javelin and Laffey in their everyday misadventures, and even Z23 becomes close with the three: in the absence of conflict, Slow Ahead! shows how the ship girls are more similar than different, and it is ultimately this that allows everyone to befriend one another. This special inherits the aesthetic and tone from Slow Ahead!, as well as the smoother animation and improved artwork: originally, Azur Lane had run into challenges during production and overall, did not possess the same depth or engagement as the game the anime had been adapted from. However, Slow Ahead! reverses this, showing how, even in the absence of an overarching conflict and longer term objective, anime series derived from mobile games can still be remarkably fun to watch. While Slow Ahead! never had any of the severity or conflict that Azur Lane sought to portray, it remained entertaining because it allows the characters to simply bounce off one another, and the special accompanying Slow Ahead!, while nothing innovative, succeeds in this area.

Having now seen Azur Lane and Uma Musume Pretty Derby as examples of how anime adaptations of mobile games can find success, attention turns towards the upcoming Kantai Collection: Itsuka Ano Umi de. Kantai Collection had originally received an animated adaptation back in 2015, which had proven to be quite similar to Azur Lane in several ways. Both series attempted to delve into the more philosophical aspects of endless cycles of warfare while maintaining a balance with everyday life on base, and both series were ultimately at their most enjoyable when dealing with slice-of-life moments, being weaker with their more serious moments. Kantai Collection and Azur Lane both have impressive soundtracks. After its original run, Kantai Collection ended up expanding on their universe with a movie that dealt with the cycle between Abyssals and Kan-musume, while Azur Lane decided to pivot towards a more comedic and gentle portrayal of their ship girls when not in combat scenarios. It is unsurprising that Azur Lane‘s spinoff has proven to be more enjoyable: neither series had quite been able to reconcile the horrors and desolation of warfare with comedic antics that belong in other genres, and Kantai Collection: The Movie had insistently ploughed on with this story and ultimately ended up leaving the universe open. However, with over seven years having elapsed since Kantai Collection last aired, I imagine that, most English-speaking views would not remember the anime. As such, Itsuka Ano Umi de now faces a unique challenge. Presenting the Kantai Collection universe from a slice-of-life or comedic perspective would provide viewers with a conventional, if enjoyable experience, but Itsuka Ano Umi de appears to be taking a riskier route: promotional materials suggest that this series, centred around Shigure, could be a grim one. The original Shigure had fought at the Battle of Surigao Strait, which saw near-total casulties. There is the possibility that Itsuka Ano Umi de would be about Shigure dealing with the outcome of an equivalent in Kantai Collection and finding happiness anew in the aftermath, although save a handful of these promotional trailers, not much more is known. It is equally possible that the series could go in a different direction and continue on with where the film had left off. With this in mind, Japanese viewers do appear excited for the series, and I imagine that the key here is not to expect too much out of Itsuka Ano Umi de: for me, if it does go down a route where Shigure must come to terms with past losses and rediscover her reason for being, that’ll be satisfactory.

Screenshots and Commentary

  • Until quite recently, I hadn’t even known that Slow Ahead! would receive an OVA with its home release: despite having greatly enjoyed Slow Ahead! during its run more than a year ago, Slow Ahead! isn’t a series that I would count as being so riveting and compelling that I’d keep up with related news. As such, that there was an OVA had completely slipped from my mind. Having said this, I am glad to have gone through and taken the time to watch this OVA, which became available in July of last year and follows the ship girls as they prepare for a party on base.

  • Slow Ahead!‘s greatest strength had been the fact that it was entirely comedy-driven: in series like Azur LaneKantai Collection and virtually every other online game, characters form the bulk of the appeal, so an anime that is able to take these characters and let them bounce off one another in a slice-of-life setting can result in an entertaining anime that expands the world further without overlapping with the topics the game seeks to cover. This is, in part, why both Kantai Collection and Azur Lane‘s original anime series were a little less effective; the aspects that drive the game may not be quite as consistent or coherent from a narrative standpoint..

  • Uma Musume Pretty Derby is the exception to this: because the horse girls have unique goals and aspirations, in conjunction with the fact that every horse girl’s experiences is rooted by their namesake’s history, an engaging story can be written for the anime format, all the while expanding on their world in a way the game might not. It is therefore unsurprising that Uma Musume Pretty Derby is receiving yet another continuation.

  • With this in mind, I certainly wouldn’t mind seeing more Slow Ahead!, either: Javelin and her friends end up involved in a variety of experiences on base, and these moments do fit the short format quite nicely, offering viewers with a few laughs here and there. Despite my never having played Azur Lane in any detail, Slow Ahead!‘s portrayal of the characters is accessible and simple, allowing this series of shorts to be one more addition to my collection of shows to watch when I’m looking for something simple.

  • In this OVA, Slow Ahead! shows Javelin as being quite excited to take to the dance floor for their party, in hopes of impressing the commander with her fresh moves. Eager to show Z23, Ayanami and Laffey what she’s got, the group head over to the gymnasium, where they find Sirius already there, practising for her waitress duties during the party. The real HMS Sirius was a Dido-class light cruiser that was launched in 1940 and assigned to assignments around the Mediterranean Sea from 1942 onwards. In Azur Lane, Sirius is portrayed as a well-endowed maid who struggles with her practise.

  • All thought of dancing is forgotten as Javelin and the others decide to help Sirius with her practise out: it turns out that Sirius is also hoping to impress the commander. This is a recurring theme in Slow Ahead! as the ship girls vie for the unseen commander’s attention: with Azur Lane‘s original series, the higher-ranking ship girls made their own calls as to what assignments they would take on and what tasks they would carry out, so in this regard, Slow Ahead! does bring back an element that was present in the game.

  • As a bit of an aside, this post has actually been sitting in my “drafts” folder since the last week of April; I had originally been looking to get this post done before May had arrived, but things became quite busy towards the month’s end. While I’m now settled in and have a consistent schedule, the end of April saw me working on pushing through posts for Project Wingman and wrapping up talks on anime that I’d been meaning to write about, as well as begin preparing special topics talks surrounding my trip to Japan five years ago, and the preparations for the MCAT a decade earlier.

  • The largest of these tasks was revisiting Go! Go! Nippon! so that I can do a full scale post for a lengthier recollection about both my travels, and thoughts of the game. With those done, I’ve had a chance to make a dent in my backlog of shows (as Akebi’s Sailor Uniform demonstrates), and this comes just in time as the Calgary Flames make it to the second round of the Stanley Cup playoffs; entering this week, I stayed up much later than I normally would to watch the heart-stopping game seven, which took place at the Scotiabank Saddledome.

  • Although the Flames had fallen into a 1-0 hole after the first period ended, Tyler Toffoli tied things up during the second period. Moments later, Dallas would score again, but before the second period expired, Matthew Tkachuk tied the game 2-2. The third period was scoreless, and so, the Flames went to overtime. For fifteen minutes, Flames goaltender Jacob Markstrom, and Dallas goaltender Jake Oettinger duelled to keep their respective teams alive. Finally, Johnny Gaudreau would put one behind Oettinger at a bad angle, taking the Flames to a second-round showdown with the Edmonton Oilers.

  • I’ve not seen the Flames in a round two series since the 2004 playoffs, when Martin Gelinas scored in overtime to help defeat the Vancouver Canucks, and on this first match in the iconic Battle of Alberta, the Flames exploded out to a 9-6 victory over the Oilers at the ‘Dome. This victory saw Tkachuk with a hat trick, and while winning the first match feels amazing, Edmonton is an excellent team, so the next game is going to be tough. One thing’s for certain: the Battle of Alberta will be intense and emotional. Back in Slow Ahead!, with Sirius struggling with various tasks, the other ship girls do their best to reassure her that despite nerves, she’ll be fine once the party arrives: Sirius has taken several spills, including one moment where she gets cake on herself, causing Laffey to try and help Sirius to “clean up”.

  • Although Sirius’ misfortunes persist, South Dakota and Massachusetts soon appear: it turns out they’re going to perform on the evening of the party, and have also shown up to practise their piano piece. To give Sirius a chance to catch her breath, Javelin and the others decide to hear South Dakota and Massachusetts practise: a grand piano’s already been placed on the main stage, and the gymnasium is soon filled with a warm piano as the pair practise.

  • South Dakota and Massachusetts did not figure prominently in Slow Ahead‘s original run. Both South Dakota and Massachusetts are classified as battleships in Azur Lane: in-game, battleships bring massive firepower to the table, and a quick look around finds that the most iconic World War Two battleship, the USS Missouri, do exist in the Azur Lane universe as ultra-rare vessels, although to the best of my knowledge, I’ve never seen them in combat or on base previously. However, reflecting on her role in World War Two, Missouri is portrayed as being highly efficient with paperwork (the USS Missouri was the site where the Japanese Instrument of Surrender was signed).

  • The previously-empty gymnasium is a completely different place on the night of the party and is aglow with warmth. This party, although only portrayed for a few moments in Slow Ahead‘s OVA, speaks volumes to how far things have come since the events of Azur Lane proper: Kaga and Enterprise are no longer at one another’s throats, for instance. Seeing slice-of-life moments in Azur Lane had proven surprisingly enjoyable; longtime readers will know that I am very fond of quiet, ordinary moments. This is because life is already busy and hectic as it is, so moments I have to myself are appreciated, and enjoyment of quieter moments extends to my entertainment, as well.

  • Just this past weekend, I ended up having a few hours of Sunday afternoon to myself: having gone grocery shopping and mopped down the floors, I had enough time in my afternoon to walk over to the neighbouring bookstore, where I spent an hour blissfully browsing through the latest novels and reference books. On the way back home, it suddenly hit me that I’ve not felt this relaxed for quite some time. Back in Slow Ahead!‘s OVA, Sirius has managed to overcome her doubts and becomes comfortable with serving just in time for the party.

  • To reiterate the fact that this party is a magical moment for all those participating, the entire scene is filled with a warm, golden glitter: all of the preparations appear to have been successful, and the event itself is further given a dream-like character by depicting the various scenes as stills. Although this technique was previously used to offset the fact that some moments are too intricate to animate, slice-of-life series utilise it as a visual metaphor and emphasise the idea of living in the moment. This is the reason I’ve given as why Akebi’s Sailor Uniform‘s final performance uses stills rather than animation; for both Erika and Komichi, they’re completely immersed in what they’re doing, and the anime intended to convey this, rather than CloverWorks’ prowess, hence the outcome.

  • Laffey lives up to her promise of eating to her heart’s content at the party. While reception foods are quite tasty, I’ve never really been one to over-do it: eating too much at a party, especially when one’s in formal wear, can create for some challenges. The key here is that at parties, dinner is often served buffet style, and the best approach I’ve found is to sample everything, then “fill up the corners” with one’s favourite dishes once everyone’s had a chance to eat and settle down. This familiarity comes from a lifetime of eating dinner Chinese style: everything is communal, rather than served in individual portions, so it’s considered good etiquette to let everyone at the table try something, and then slowly pick away at the dishes over conversation.

  • Javelin, on the other hand, dances her heart out during the party. After a series of watching the ship girls struggle in a life-and-death battle with the Orochi Project, Slow Ahead! gave viewers a chance to see the girls enjoying everyday life. Slow Ahead!‘s OVA continues in the vein of its predecessor, bringing back memories as to why Slow Ahead! had been so enjoyable. The look of joy on Javelin’s face is priceless, although in the moment, Javelin loses track of her surroundings and collides with Sirius, who’d otherwise been having a fine evening, as well.

  • While perhaps a little embarrassing, no lasting damage is done to either Sirius or Javelin. The moment does leave me with another screenshot of note: fanservice in Azur Lane is comparatively disciplined, and this was something I found a little surprising, since series of this sort traditionally capitalised on the moment to show pantsu and make mammary jokes like both were going out of style. Having said this, while such moments are not a bother for me, I do feel that in a series where the characters can stand of their own merits, such moments could be stripped out entirely, and the work would still stand.

  • Slow Ahead! is one of these series: the characters and their misadventures carry the show, so even in the absence of things like pantsu, the anime would still be quite charming to watch. However, the presence of such fanservice is not unwelcome, simply serving to add yet another layer of comedy to things. With this post in the books, I believe I’m as caught up as can be for Azur Lane at present. This means I’m going to focus my attention on wrapping up My Dress-Up Darling, and then make my way through Tom Clancy’s Ghost Recon: Wildlands, which I picked up for 10 dollars during the past weekend. I’ve been wanting to return to Bolivia and start my fight with the Santa Blanca cartel: the last time I played Wildlands was during the 2017 beta, and I’ve been wishing to return and finish the fight since then.

While this may come across as a bit pessimistic, I will note that Japanese viewers are more open towards another Kantai Collection adaptation. Folks who’ve seen the trailer and promotional artwork are looking forwards to seeing more of their favourite Kan-musume brought to life in the animated format, as well as seeing what sorts of things await viewers. This is the more mature perspective to take: Azur Lane‘s appeal had similarly been with its characters. Javelin, Laffey, Ayanami and Z23 had made Slow Ahead! remarkably entertaining even though the series had no combat whatsoever, and while the writing is largely dependent on familiarity with the characters’ in-game incarnation, the fact that the spin-off had given viewers a chance to know the characters better meant that I’d left Slow Ahead! with a better measure of each character, despite never seeing anyone fight against the Siren. The prevailing sentiment amongst Japanese viewers is that the characters make Kantai Collection worth watching, and these thoughts are valid: my hopes are that Itsuka Ano Umi present viewers with a central cast that are every bit as likeable and charming as Javelin, Laffey, Ayanami and Z23. For the time being, there’s a full half-year between the present and when Itsuka Ano Umi is set to air, and having just finished Slow Ahead!‘s special, I am glad to have taken the time to check this one out: despite its short runtime, it brought back everything that had made Slow Ahead! enjoyable and condensed it out into a short format to give the series a swan song of sorts. It’s unlikely that Slow Ahead! will receive another continuation, but in the event that such a continuation does occur, I would have no qualms about watching it. While Slow Ahead! might not be a thriller or a philosophical masterpiece, it does succeed in its function of giving viewers a few laughs, which is something that everyone could do with more of.