For people who were swept away with idol fever during Tamon’s B-Side, and charmed by the sweet “friends plus crush” triangle of Gals Can’t Be Kind to Otaku, this anime will fill the hole left in your heart by their season finales.

When a young woman finds herself sandwiched between the apartments of her favorite mangaka and her fantasy IRL boyfriend, comedic hijinks ensue. This is a love triangle that isn’t so sure of itself, as these strangers collide in fake relationships, manga fantasies and secret identities yet to be revealed.

~The Window Seat Anime Journal - The April Journal

We were surprised both by how little chatter there was about this anime, as well as how low its rating is on Crunchyroll. So we’re giving this spring sleeper a highlight reel to spark some renewed interest in this clever rom-com imbued and its unique visual style.

We are only covering episode one , so don’t worry about spoilers.

Enjoy!

PARDON THE INTRUSION! I’M HOME!

OVERVIEW

Rinko is a secret otaku, who lives alone in an apartment decorated with all her favorite manga and anime characters, especially Usaneko Club. Each day at her stressful office job, she longs to get home and watch all the anime she has recorded. But whenever she tries to watch something other than Usaneko Club, her neighbor bangs loudly on the wall making it impossible for her to watch anything else.

In contrast, her kind and polite neighbor on the other side, Satsuki, brings her tea and looks after her well being with thoughtful advice. Seeing him like her nurturing grandmother, she confides her difficulties with her mysterious and obnoxious neighbor. When Satsuki offers to help her navigate this challenging situation by stepping in as her fake boyfriend, his own surprisingly assertive side emerges; and the situation escalates when he begins banging back on the wall. To everyone’s surprise, a foot comes crashing through the wall and Rinko’s favorite mangaka and creator of Usaneko Club, Usaharu, steps through the hole, grouchy and hungry.

Rinko can’t believe her luck to be living next to her manga idol, and Usaharu is swift to leverage her adoration into a hot meal on demand in her apartment.

His gratitude is short-lived as he promptly falls asleep, but Satsuki refuses to allow Rinko to be left alone with him. To further cement their fake relationship in the real world, he invites her over to his apartment to watch all her other favorite anime apart from Usaneko Club. But it doesn’t take long before her reserved and “grandmotherly” neighbor shows a different side when he sits inappropriately close to Rinko on the couch.

Before we can decide if Sasuki is only joking or if he really might be the one Rinko should really worry about, Usaharu’s foot once again crashes through the wall; this time opening a hole between Rinko and Satsuki’s apartment. He isn’t satisfied with a onetime meal, and insists on Rinko becoming his “chef-sistant” to cook for him through his long working hours and looming deadlines. But Satsuki isn’t willing to give up his status as fake boyfriend in his concern to keep her from being taken advantage of.

Or so he says…with a disarming smile.

Rinko has a choice to make, but it isn’t between the two – she is in an “all or nothing” situation with Usaharu and Satsuki. And we can’t say we are surprised when she chooses both, or at how funny this tug-of-war triangle between Usaharu and Satsuki becomes, as they jockey for the upper hand to hold Rinko’s attention.

ANIMATION STYLE

One of the most prominent visual aspects of this anime is the use of completely separate and contrasting color palettes for each of the main characters’ appearance and apartment decor. Soft pink, purple and aqua pastels and plush clothing for Rinko are contrasted with bold and bright primary colored streetwear for Usaharu, and the cool, shadowy purples and blacks of Satsuki’s slim silhouette. We get a taste of each character’s personality through these color palettes, as well as their chemistry together when all three appear in a scene. By balancing character interactions with wide-angle views of the apartments in their matching palettes, the rooms act like an extension of the characters themselves to provide additional clues about their temperaments. The viewer is indulged with extreme close-ups, each of which also serves its own purpose in their expressiveness: Usaharu lacks any censor with his emotions fully out on display, Satsuki alternates between cool reserve and his polished dreamy boyfriend persona, and Rinko is dominated by her alternating confusion, overwhelm and delight as she navigates these two polar opposites in her intimate homelife.

TARGET AUDIENCE

The target audience of Pardon the Intrusion! I’m Home! likes rom-coms with a touch of implausibility, fan culture, threesome dynamics, and plots where secrets threaten to spill out.

Fans would describe themselves as romantic, fans of idols or famous creators, believers in platonic love in male/female friendships and slow, soft crushes.

MUSIC

Pardon the Intrusion! I’m Home! has a fantastic opening that continues to highlight the uniqueness of the three characters to the catchy “C’est la vie“ by Choutokkyuu. You’ll want to watch it before every episode!

SIMILAR ANIME

Viewers will recognize these breakaway hits from the past two seasons:

For viewers who love the god-like adoration fans have for their favorite idols,

Tamon’s B Side gives a heavy dose of love explosions along with a couple secret identities in the intimacy of an idol’s household setting.

For viewers who love those slow crush triangles where no one can decide if they should be more than friends, Gals Can’t Be Kind To Otaku flips the genders, exposes secret otaku habits and the joy of finding a kindred spirit in fandom of anime.

Need a little more to decide? Watch the official trailer, but be warned there’s some light spoilers once you get past the halfway mark:

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SUMMER VACATION FOR THE WRITERS OF THE WINDOW SEAT ANIME JOURNAL

Since we launched in March, we have published eleven Snapshots, five long essays and five monthly journals. We are very proud of this first phase in building a space where viewers can learn about new anime to watch and read thematic essays about anime they love.

We’ll be taking the month of August off to enjoy the summer and work on the backlog of writing for the rest of the year.

We appreciate all our readers and look forward to bringing you more great content in the autumn!

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ON SUBSTACK CHANGES

The Window Seat Anime Journal is collaboratively written by two humans, one sentence at a time. Our process is simple: we work in a Google document with “suggest” mode on and type into the document. Each post takes several hours of consulting, writing and editing to produce; even a Snapshot, which has a set format that we use every time. Long essay posts take weeks to complete. It is part of being a creator, and we welcome the struggle and the success equally in what we produce.

Like many creators, we are disappointed in some of the recent changes Substack has made by default enabling “AI detection” and forcing creators to manually opt-out on every post.

We believe:

• People have the capacity to choose what they read and consume.

• AI has no place evaluating and judging content, since AI was built on content that was scraped from the Web without permission, and may be evaluating authors with their own material that has been stripped of their copyright.

• It’s a poor use of our precious environmental resources to support these technologies that are untested, unverified and ineffective at delivering what they promise.

Needless to say, we will be disabling this “feature” on all of our posts because it is not relevant to what we produce.

We are also going to start moving our content behind a subscriber wall. It will still be free, but you will need to subscribe to have full access to the posts. We appreciate all of our followers and hope you’ll join us on the subscription side.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

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OVERVIEW

Nothing in Steins;Gate is what it appears at first glance.

Rintaro Okabe, a maniacally laughing mad scientist who talks in code about a fictional Organization no one else can perceive, is also a uniquely gifted physicist capable of time travel.

Itaru “Daru” Hasida, a chubby computer geek with a penchant for maid cafes, is also a hacker capable of breaking into the systems of global organizations.

Kurisu Makise, a young prodigy physicist, is like Schroedinger’s cat, both murdered in one moment, but then not murdered in another.

And Mayuri Shiina, a childhood friend of Okabe, works on cosplay costumes in the lab like a token mascot, only to become the spark at the heart of the story’s engine.

The plot defies a singular description, especially as more characters with their own timelines come into play. At any given moment, in any scene, the characters’ action ranges from bickering and exchanging lewd jokes over inconsequential minutiae, to acting out an elaborately constructed conspiracy plot against an imaginary Organization, to racing against a monolithic corporate empire to prevent a global dystopia, to frantically trying to save the lives of people they love.

To say Steins;Gate is an anime about time travel is both perfectly accurate and utterly inadequate.

Because there is no singular in Steins;Gate. Like the parallel “World Lines” it inhabits, alternate versions of reality that shift when time is manipulated, multiple perspectives converge into the unifying trajectory beneath it all. Steins;Gate is like a kaleidoscope that constantly changes what it shows you, even though the pieces themselves remain consistent through its permutations. It is Okabe’s gift of Reading Steiner, the ability to maintain his memories when World Lines change, that enables continuity through what would otherwise appear to be a highly fragmented story. And this unique ability sets him at the center of the quest to find Steins;Gate, the World Line where everyone he loves is saved and global dystopia is averted.

More than being a linear story to simply consume, Steins:Gate opens itself to a plethora of questions: what is Steins;Gate really about? And is it really possible to travel through time with a microwave, cellphone and CRT TV?

ANIMATION STYLE

In contrast to the borderline surreal complexity of the storylines, Steins;Gate is realistically rendered with minimal expression effects, allowing the personalities of the characters and settings to trigger the chemistry between them. Awash with neutrals in the neighborhood of Akibahara, this science fiction classic could be visually exchanged for any typical slice of life anime. But it’s most visually reminiscent of the dark fantasy, Dororo, whose range of rich neutrals is punctuated by the vivid green of Dororo’s clothing, and the bright red bloodshed Hyakkmaru perpetuates in his quest for bodily restoration. In Steins;Gate, it’s Kurisu’s dark brick-red hair, and the soft blue of Mayuri’s dress and eyes that add a touch of vibrancy and keep the scenes from appearing flat, dull or repetitive.

The story pacing may feel difficult to measure until episode 8, as Okabe spends significant time spontaneously posturing as the fictional mad scientist, Hououin Kyouma, Daru wants every possible double-entendre repeated in real time, Mayuri mourns her cold karaage chicken and spoiled bananas, and Kurisu struggles to get her true name properly acknowledged. Viewers may wonder if the story will ever come together, until it does all at once, like particles in a high-velocity collider; at which point, it becomes heartbreakingly apparent how high the stakes really are for this group of people tinkering on the margins of scientific breakthrough and society. Unlike anime where the pacing is constant across the series, the tempo gets a serious uptick in the second half, as they race to a resolution that appears linear until it isn’t, much like Steins;Gate itself. But this lack of linearity does nothing to dilute the emotional impact of the latter portion of the series, as Okabe races to untangle World Lines through repeated sacrifice and courageous determination to restore peace, and avert both global and interpersonal disaster.

STEINS;GATE 0

For those who loved Steins;Gate, its return seven years later may have flown under the radar due to the slightly revised title. True to form, the second “season” of Steins;Gate brings viewers into an alternate World Line where Okabe has chosen (or not chosen) a course of critical action with literal world-altering consequences, as well as the disappearance of his mad scientist persona, Hououin Kyouma. Through 24 additional episodes, Steins;Gate 0 folds in additional futuristic technology with an AI replication of Kurisu called Amadeus, and new adversaries hiding with plain sight through the capacity for advanced brainwashing across time.

The uneven pace set by the characters’ bantering in early Steins;Gate is gone, replaced with a more linear exploration of the intense emotional impact leftover when the trajectory of World Lines go wrong and a grim future has yet to be averted. If viewers have ever wondered what the story would be like if the initial ending resolution hadn’t happened, then Steins;Gate 0 will be a satisfying continuation. Like a reboot, Steins;Gate 0 resets the story back in time to deliver an alternate version of the same race against dystopia, fragmentation and loss, and pulls all the World Lines together again into a single coherent arc.

Similar to season one of Steins;Gate, the first half of Steins;Gate 0 is not predictive of the escalating emotional immersion that first begins to seep in halfway through, then gushes inexorably through the last handful of episodes. The bonds that connect the lab members, with an increasingly heavy emphasis on Okabe and Mayuri’s relationship, bear as much weight in the story as the complex timelines, technological leaps, and ominous global forces. But it is the re-emergence of Hououin Kyouma that marks the crescendo; and who, through his forceful charisma, exerts the actions needed to fight these destructive forces to the end.

TARGET AUDIENCE

The target audience for Steins;Gate likes complex and non-linear stories, science fiction that deals with time travel, physics and ad-hoc technology stacks, and stories about avoiding, resisting or overcoming dystopian events.

Fans would describe themselves as cerebral, romantic, STEM savvy, and idealistic. They believe in the power of living on the margins with a small circle of people who understand them, and in the idea that opposites attract. They appreciate the power of an inexplicable love for another person who is neither family nor a romantic interest, and that love does not require a utilitarian purpose or duration to justify its magnitude.

For viewers who prefer a single, linear story, or one where it is clear early on what the trajectory of the story arc is, Steins:Gate may feel confusing and unfathomable. The emotional payoff is slow to come, but intense when it lands, making it a perfect fit for patient viewers who are willing to delay gratification in exchange for a deeper meaning and experience.

OPENING, CLOSING & MUSIC

Steins;Gate has a solid opening with music by Kanako Itou, Hacking the Gate; however, viewers may find themselves wanting to jump right back into the story and choose to skip the opener especially once the plot starts coming together more coherently.

For Steins;Gate 0, the music reflects the deeper emotional undercurrents in both openings and closings, with opening songs Fatima and Amadeus by Kanako Itou, and the melancholic ending LAST GAME by Zwei, and the more fast-paced World-Line by Asami Imai.

But also not to be missed are the atmospheric instrumental pieces by Takeshi Abo, including Itsunohinika - Believe Me, Shuuyaku, and Chouyaku that amplify every scene they are in.

You can find complete soundtracks for Steins;Gate and Steins;Gate 0 on your favorite music streaming.

Ready to watch this anime? You can find it on Crunchyroll!

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SIMILAR ANIMES

For viewers who are interested in the time loop dynamic, but also can’t resist a good isekai adventure, Re:Zero is the perfect match. With the MC protagonist able to “return by death” to a moment in the past after he dies, we see him willing to go back over and over to change the outcomes of the people around him with the same persistence as Okabe. Unclear who to trust or what everyone’s motives are, he also reflects the same undercurrent of uncertainty and low-level paranoia in Steins;Gate.

For viewers that loved the visual aesthetic of Steins;Gate, Dororo uses a similar palette set in a dark fantasy story in the age of samurai. Beyond just the visuals, the intensity of Hyakkkimaru’s platonic love in his relationship with Dororo matches Okabe’s with Mayuri, despite the difference in ages and broader plots. There is also a carryover with the actions of one impacting the lives of many, and questions around whether widespread disaster or dystopia can ever be averted by the sacrifice of one person.

For viewers that like stories grounded in time-looping, but want something a bit more titillating and less dystopic, Gnosia is drenched in vivid day-glo colors, sexualized characters, and lower stakes relationships. Based on a social deduction probability video game, Gnosia continuously loops through a range of characters on a spaceship trying to avoid being taken over by the Gnosia, humans infected with a homicidal virus. Like Steins;Gate, the fractured time-looping and character variability eventually pulls together into a unified story several episodes in.

And if you like the slow burn of a seemingly non-linear story where the ending episodes reveal the meaning behind what you have been watching all along, but don’t care for the time travel element, Shoshimin is a high school detective series with brilliant characters acting out their dark psychology to a surprise twist at the end.

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SOURCE MATERIAL AND ANIME PRODUCTION

Wikipedia: Steins;Gate

ANIME

Steins;Gate is a Japanese anime television series produced by White Fox, based on 5pb. and Nitroplus‘s 2009 visual novel of the same name. The series aired for 24 episodes, from April to September 2011. The series was directed by Hiroshi Hamasaki and Takuya Satō, and written by Jukki Hanada, with character design and animation direction by Kyuuta Sakai, and music by Takeshi Abo.

The series has spawned one original video animation (OVA) episode, four original net animation (ONA) episodes, and a follow-up film. A sequel anime adaptation titled Steins;Gate 0, based on the 2015 visual novel of the same name, premiered in 2018.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

Subscribe now

Set within a dystopic future, 86 Eighty-Six is an anime continuously asking viewers if they are seeing the whole truth. The foundation of its story arc appears to be a linear trajectory: the fully automated troops of the Legion are advancing on the Republic of San Magnolia, and San Magnolia is responding in kind with its own mechanized infantry. But this simplified narrative, with a clear enemy and proportionate response, is just a construct of San Magnolia itself. The truth is hidden in propaganda that obfuscates, denies, and reduces the complex human impacts into soundbites filled with misdirection.

Presented in slices from different perspectives, 86 Eighty-six is filled with opposing viewpoints about what is happening in both the Capital of the “elite” society, and outside the Gran Mur walls on the battlefield with the Legion. It is masterful in the way it drops the viewer into a world of questions, polarities and contradictions, particularly around the roles of its characters and their meaning, justification and limitations.

To maintain balance in its viewpoints, 86 Eighty-Six swings back and forth within the confines of its story arc in an alternating dance of tight control and unleashed inhibition. The viewer feels the constrained politics of San Magnolia contrasted with the rigid frames of the Juggernauts, further emphasized by the loose-lipped, drunken Magnolia officers’ slurs and the sarcastic Eighty-Six exchanges during downtime at their barracks. By always showing viewers an alternating vantage point, viewers are forced to question the narrow lens they are given and what influences make it so focused in that particular perspective. In this morass of distrust, neither Lena nor the Eighty-Six really see each other as other people navigating a system of insurmountable constraint. Rather, they see only the restrictive boundaries of their prescribed roles each with its own self-limiting title: Processor for the Eighty-Six, dehumanized to a state of not only being mechanized, but to being the smallest component in a mechanized system; and Handler for Lena, a title that clearly establishes her superiority in the hierarchy, while also denigrating her by giving her the title of someone in charge of animals, and not humans.

Within the confines of these titles, their roles must strictly adhere to the formulaic purpose San Magnolia gives them. The more they obey these politically imposed limitations, the less they see of each other and at times, even of themselves. On both sides of this divide, they are dehumanized by their roles, cut off from the deeper and unique parts of themselves to explore, albeit for different reasons. Lena faces the weight of having to compartmentalize the impacts of the exile and sacrifice of the Eighty-Six by San Magnolia, while the Eighty-Six endure the material insufficiency of lives relegated to deprivation and disposal. Each struggles under the pernicious influence of San Magnolia’s cultural war to see one another through any unclouded purity of heart as members of the same human family. Even as Lena is disgusted by San Magnolia’s description of the Eighty-Six as a pig-like humanoid, the 86 are equally disgusted by the “white pigs” of the Alba who reap the benefits of their subjugation and death.

THE PRESSURE COOKER OF CONSTRAINTS

Beyond the questions about the truth, 86 Eighty-six poses questions regarding choice and the exercise of agency, in particular for the Alba. Everyone is born knowing that all humans have equal rights regardless of their origin. It’s the tainted lens that society manufactures which makes us view those different from ourselves, or judge others by a fabricated purity standard as “less” or “outsiders”. Delivered through both mass media and our influential formative inner circles, propaganda limits the ability to perceive others clearly and without bias. While pressured by their circumstances to conform, choice is still an option, especially for those with the privilege of Alba “purity”. The extent that the characters allow themselves to be manipulated by the San Magnolia superficial definitions and propaganda, divides them from each other and the core of humanity within themselves.

Lena’s point of view directly shows us this, whether waiting at an intersection or walking through the Capitol building: whenever she looks upward, she sees a screen spreading televised propaganda about the war, and boasting its zero casualty success. Around her is a clean city with boisterous crowds of people, but the visible homogeneity of the Alba reflects its narrowly defined perspective. This fragile veneer of purity barely conceals the underlying rot, because their safety is ensured by their complicity in incremental mass murder. While Lena eventually gains the strength and honesty to breach both these constructs and the physical walls of San Magnolia, it required the departure of the Spearhead squadron into the unknown at the calamitous arrival of overwhelming Legion forces at the Capitol. This severing of her bond with the Spearhead Squadron forces for her to finally step into her destined new role as the “Bloody Queen” of San Magnolia, a title that better suits her sovereign power, near maternal protectiveness of her 86 Eighty-Six troops, and ruthless pursuit of victory over the Legion.

Yet, at the stifling core of societal, military and interpersonal constraints, Shin’s role as the “shinigami”, the Reaper, is the one for which there appears no escape. Entrusted with the burden of ensuring that none of the fallen Eighty-Six from the Spearhead’s squadron are absorbed into the Legion, he finds himself forever being left behind. As he carries more and more of the code names cut from their Juggernauts and hears an unrelenting cacophony of their voices, his ties to the living become increasingly fragile. As the pursuit of the rail gun becomes superimposed with Federica’s own story of exile and her knight’s abandonment, the ghostly existence Shin lives amongst his comrades is undeniable. When Lena comes upon him, his wish for death is rooted in not only his weariness, but his despondent sense of loneliness; Shin believes he has finally become the last of his squadron left with no one to keep him from being collected by the Legion. Lena’s presence is a comfort, but it is the voices of Theo, Raidan, Kurama, and Anju, as well as Wenzel and the President, that restore a meaningful role for him within the broader story of the war and its allied forces.

THE PROPAGANDA DIVIDE

As an extension of these constraints, 86 Eighty-Six presents the viewer with a set of contradictory attributes for its characters, stemming from the false identity assigned by the propaganda, and those that originate from within the characters as they adapt to the restrictive dynamics of their respective roles. Everyone in 86 Eighty-Six has a role that both constrains them and offers them choices. The extent to which each has autonomy is reflected in both in the built environment around them, and in the degree to which they have freedom to think. The visual cues of any given scene provide the contrast between the nearly colorless San Magnolia, empty of its own ideas, and the verdant countryside of the Eighty-Six’s barracks, rich with an appreciation for each and every moment they remain alive.

For Lena, her official role as an Alba from a privileged family, with access to the entitled status of an early officer promotion, is tainted by the assumption she will fill the role of a “puppet” Major, compliant and subservient to the propaganda by the Alba government. In many ways, Lena is also a “throwaway” like the Eighty-six, in that nothing is formally expected of her in terms of military tactical success by her superiors. Yet, from this position of minimal expectation, Lena digs into what her innate moral compass tells her is the right action, even if her initial efforts turn out to be inconsequential when the Eighty-six give her a harsh dose of reality. Her initial niceties and attempts to humanize them through conversation proves inadequate to this battle-worn regiment, and simply saying she recognizes them as human is trivialized by the Eighty-six without consideration for the fragility of her feelings.

The death of Kirschblute becomes Lena’s turning point. Rather than collapsing under the weight of her mistakes and the Eighty-six’s mocking derision, Lena redoubles her efforts to support the Eighty-six. By digging deeper into the morass of San Magnolia’s short-sighted military strategy, Lena sends the Eighty-six supplies and support in violation of her orders and limited jurisdiction. By not allowing the failure of any single battle or official rejection of her requests to thwart her, she becomes a true actor in the resistance against the discriminatory policies towards the Eighty-six. Almost ironically, her open recognition of the Eighty-six as humans renders her to the most effective military strategist against the consciously evolving Legion army. When the legion finally breach the Gran Mur wall, San Magnolia is forced to reintegrate the Eighty-six to save the Capitol.

For the Eighty-six, their official role lacks any nuance regarding who they are, where they are from, or what their purpose is; they have been stripped of any acknowledgement that they are human. With the label of “autonomous” assigned toe Juggernauts’ capabilities, the only concession the Alba government makes to an even quasi-living creature being engaged in battle with the Legion is to refer to a synthetic, pig-humanoid hybrid operating the controls of these singular military fighting machines. Built for high speed and agility with no regard for comfort or safety, the Juggernauts’ design forces the Eighty-six into an extremely reckless and dangerous engagement style against the Legion army with multiple different military vehicles, each built fit to purpose. The purpose of the Juggernauts is much more simplified: defeat the Legion through a grievous war of attrition, and murder its own forces through negligence and hazardous conditions. When a government has no regard for the human life it sends into war, its investment in protective technology is obliterated. The Eighty-six go into battle without so much as a helmet.

Their humanity, however, is not wholly unprotected. The Eighty-six may range in their positions regarding the Alba based on their personal experiences, but their sense of themselves within their roles point towards the recognition of their agency in self-determination. It is for themselves to define their purpose in the war beyond the labels and situations the Alba forces on them. They recognize the genocidal blindness of the Legion’s human destruction, giving them as much reason to fight as the Alba. While the devastating inequity in this fight both enrages and embitters the Eighty-six towards the Alba, it does not preclude them from finding their own meaning in their sacrifice, and exerting their own military strategic prowess with Lena based on their advanced experience. Similarly, the poverty of their living conditions does not prevent them from their broader cultural development in themselves through their social relationships, artistic endeavors, and intellectual pursuits.

For Annette in San Magnolia, her role as the objective scientist becomes a protective mask covering the acceptance of her own learned helplessness against the societal forces that shape her segregated and sanitized world. She accepts her own dehumanized role as a cog in the machine by not applying her talents and familial scientific legacy as extensively as she could against the Legion. In contrast to Lena, she resists taking any action to acknowledge the encroaching threat or empower the Eighty-six on the battlefield, and hides behind the cover San Magnolia’s propaganda provides to avoid her own active contribution in the exile of the Eighty-six from her neighborhood. She makes no attempt to resist the unethical military campaigns the Eighty-six are driven into, or to draw upon her innate awareness that the Eighty-six aretreated unfairly for the convenience of society. It isn’t until she is forcefully confronted by Lena with her culpability in the exile of Shin’s family, her own childhood friend, that the fate of the Eighty-six becomes personal enough for her to support Lena’s acts of rebellion. This chink in the mask, though small, begins to let the cleansing light of authentic witnessing into Annette’s perceptual field; this first step in redemptive action causing the brittle rigidity of San Magnolia’s propaganda to crack.

FREEDOM BY RESISTANCE

Your noble friend will not accept pretension, but will gently and very firmly confront you with your own blindness. Such friendship is creative and critical; it is willing to negotiate awkward and uneven territories of contradiction and woundedness.

John O’Donohue, Anam Cara: A Book of Celtic Wisdom

Whether it be Lena challenging Annette to resist the strictures of San Magnolia, the Eighty-six challenging Lena to expand her awareness of how to humanize them, or the Federacy challenging the Eighty-six to embrace a future beyond being a machine of war, all of these confrontational interactions promote the further dissolution of San Magnolia’s propaganda both culturally and psychically. Each group must acknowledge reality for survival in their respective high pressure environments: they must admit and correct their narrowed vision with varying degrees of blindness. Their emergence from behind this distorted lens can only be accomplished through interrogations of what they have believed was right and justified to this point.

The core of these interrogations is to challenge fundamental ideas around the existence and value of purity. In particular, the ethnic purity of the homogenous Alba versus the “mixed” Eighty-Six; but also the purity of adhering to a singular role (being a soldier) or identity within that role (being the Reaper). In all of these cases, the notion of purity stunts and stagnates the people in envelopes in its restrictive limitations. The eventual rot and disintegration of critical humanistic aspects result in the colorless Alba society and the futureless Shin. It is a paradox that the singular purity that proves limitless and expansive is the purity of heart that recognizes the inherent humanity beyond socially-imposed role or identity. Perhaps it is not an accident that we see over and over in 86 Eighty-Six the vantage point of children and childhood memories when this purity needs to be tapped into for the strength to resist the toxic cloud of propaganda encompassing all of the characters. .

With their experiences of childhood purity and innocence, the propaganda faces a limited temporal existence. In an ironic twist, the belief in the near-future obsolescence of the Legion was actually San Magnolia seeing its own future: the dissolution of the “pure” Alba society. As the Legion expanded its intelligence through the incorporation of the Eighty-six, so too the Republic of San Magnolia began its own societal evolution with the breaching of the Gran Mur Wall, and the reincorporation of the Eighty-six into their society. But the war is far from over at the close of 86 Eighty-Six, making this story not about victory over evil, as much as about restoration: restoring the team together, restoring Shin’s humanity, and restoring the Eighty-six to legitimate members of society. With this restoration, we witness the disintegration of dehumanizing labels (“pig” and “monster”) that express an identity based on roles alone. What emerges is a holistic awareness that encompasses the complexity of courageous, fragile people, hopefully striving to be fully embraced despite the calamitous conditions of their lives.

Leave a comment and let us know what you think! And feel free to share other anime that are similar or that you would like us to write about at The Window Seat Anime Journal. Thanks for reading!

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The Window Seat Anime Journal was created to provide a “book club” experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

Make sure to subscribe and never miss a post!

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Did you enjoy reading a long essay? You can find other long essays at our Substack website, including this dark fantasy story about a journey towards self-determination in Dororo:

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

OVERVIEW

In Tamon’s B-Side, Utage Kinoshita finds herself working as the housekeeper of Tamon, her favorite idol from F/ACE, the hottest pop group she follows in effusive fandom with her closest high school friends. Only IRL he’s not anything like what she expects! Shy, insecure, and morose, she nicknames him Gloomyhara, and gives him the gentle structure he needs at home to navigate his life of stardom. But just as she grows accustomed to his endearing fragile side, another facet appears! And Tamon’s B-Side, Hottiehara, challenges her resolve to keep her beloved idol at a distance and remain in the good graces of communal fandom.

As her neutral footing grows increasingly shaky, she begins to interact with the rest of the group’s temperamental idols and their beleaguered manager, and her perspectives regarding her place in this world of false fronts and ever-changing personalities get much more complicated.

ANIMATION STYLE

Tamon’s B-Side pushes the visual boundaries of the typical rom-com into full fandom mania, with a profusion of hearts, flowers, and explosions of idol crush feelings. Juxtaposed with the proliferation of polka-dotted mushrooms and drizzling clouds over Gloomyhara, and the dazzling flirtatious charisma of Hottiehara, this anime boasts as much emotional effect as plot.

Bouncing between Tamon’s home life, onstage performances and behind the scenes interactions with the group, the viewer gets a heady dose of Kinoshita’s first hand experiences and high intensity reactions with the rotation of Tamon’s many sides only a high school girl can manage.

TARGET AUDIENCE

The target audience for Tamon’s B Side likes high-energy rom-coms, pop music, idol culture, and fandom dynamics, and alter-egos. Fans of Tamon’s B Side would be described as romantic, idol fans, and probably sing, dance and cosplay, even if it is just in the privacy of their own home.

OPENING, CLOSING & MUSIC

Tamon’s B-Side has the J-pop dance opening one expects from a teen idol group, making us feel like we’re watching a F/ACE music video. And the glimpse of Kinoshita and Tamon dancing together midway through the opening sequence makes anything seem possible! 😍

Check out Sweet Magic by the in-series group F/ACE on your favorite music streaming.

Ready to watch this anime? You can find it on Crunchyroll!

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SIMILAR ANIMES

Fans of Tamon’s B-Side didn’t have to wait long for the next idol fandom romance since Pardon the Intrusion! I’m Home! aired in the 2026 spring season. When a young woman finds herself sandwiched between the apartments of her favorite manga artist and her dream IRL boyfriend, comedic hijinks ensue. This is a love triangle that isn’t sure of itself, as these strangers collide in fake relationships, manga fantasies, and secrets yet to be revealed.

For viewers who can’t get enough content about the entertainment industry and are willing to go to the dark side, Oshi No Ko will show you every struggle rising stars encounter.

For multi-sides of celebs, quirky self-conversations and hints of “maybe” romance, Skip Beat! is a fun exploration of what it takes to enter the entertainment world and aim for stardom.

And for viewers who love the rotating personalities of Tamon grounded in an everyday high school setting, Pseudo Harem flips the script when a high school girl tries to get her crush to fall in love with her — while only showing him the false fronts of the “pseudo harem” she creates for him.

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SOURCE MATERIAL AND ANIME PRODUCTION

From Wikipedia: Tamon’s B-Side

MANGA

Written and illustrated by Yuki Shiwasu, Tamon’s B-Side was initially a one-shot published in Hakusensha‘s Hana to Yume magazine on August 5, 2021. It began its serialization in the same magazine on October 20 of the same year. As of March 2026, fifteen tankōbon volumes have been released.

In February 2023, Viz Media announced that they licensed the series for English publication; the first volume was released on October 3 of the same year.

ANIME

The anime television series adaptation is produced by J.C.Staff and directed by Chika Nagaoka, with series composition and episode scripts written by Chiaki Nagai, characters designed by Yōko Itō, who also served as chief animation director, and music composed by Takashi Ōmama and Natsumi Tabuchi.

Crunchyroll is streaming the series in North America, while Medialink licensed the series in South, Southeast Asia and Oceania (except Australia and New Zealand) for streaming on Ani-One Asia’s YouTube channel.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

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You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

With the spring anime season wrapping up, we thought we’d take advantage of this lull to post about a anime from a phenomenal creator that doesn’t receive a lot of writing attention: Tatsuki Fujimoto 17-26. Sitting solidly in the seinen genre, these episodes should be front and center for any viewer that gravitates towards dark psychology, genre-bending themes, intense visuals and surreal situations. Fans of horror, science fiction and dystopia will find these stories satisfying, as they activate the shadowy realms of our imagination.

And don’t worry — we kept it spoiler-free, so enjoy the read! 🖤

OVERVIEW

Aliens. Assassins. Horns. Fins.

Human or god? Friend or foe? Hunter or prey?

Science fiction, fantasy, and horror prevail in the short stories that comprise Tatsuki Fujimoto 17-26. Best known for his work, Chainsaw Man, Fujimoto had several one-shot stories published from age 17 to 26, which were adapted into this 8-episode, Original Net Animation series (i.e. released directly online rather than streamed on TV). You may expect this to be a Chainsaw Man prequel, but it is not. At all.

Tatsuki Fujimoto 17-26 is its own collection of standalone short stories, none of which depend on the other for continuity of characters or storylines. They all take place in their own world with their own characters, and without a consistent, overarching feel or tone apart from their intense and expressive visual impact. You can never predict how a character will react, nor if what you believe to be true in any given moment is actually the case. While the lack of continuity among the episodes may feel like a disjointed reset to some viewers, each episode is in actuality a compact masterclass in complex storytelling.

Managing to be both surreal and thought-provoking, the tight plots of each episode don’t waste a second of air time. Characters are introduced with already established personalities, delivered in tandem with an event from their life; and with clear indication that the main triggering event occurred in the past. What helps ground the trajectory of each episode as it moves forward from this origin is a key main character’s singular perspective that the viewer can focus on. Even with highly important supporting characters, the main characters guide us throughout the episode, as we get inklings of how they arrived to where we met them.

While every episode warrants a watch, here are the three episodes that stood out as most memorable for us:

A Couple Clucking Chickens Were Still Kickin’ in the Schoolyard:

Synopsis:

In 2019, an extraterrestrial force successfully defeated Earth, devastating for humanity. To aliens, humans are no more than livestock, just as chickens were to people. In the midst of this, Yūto and Ami are two humans surviving by disguising themselves as chickens, which most aliens find unappealing. However, a diligent student named Yōhei discovers their secret.

Why we liked it:

This is the first story of the series, and it delivers the plot, action, and visuals explosively. Terror, curiosity, and compassion all compete among the characters, who may or may not be who they seem. It is a masterful portrayal by an unreliable witness that pulls us between the sense of a frantic present and a thoughtful recollection.

Shikaku

Synopsis:

Regarded as a monster by her parents since childhood, Shikaku evolves into a highly skilled assassin, renowned for her meticulous precision and unexpected compassion towards her victims. She is offered $100 million by a mysterious client for a request that may finally be her match. But then the end goal shifts, and round two brings a different facet of her qualities to light.

Why we liked it:

Amidst violence and gore, there is underlying sympathy for Shikaku; in particular, how she tried to understand herself and those who have misunderstood her throughout her troubled past and inescapable criminal present. This story is a twist on many tropes, and the seconds of dark humor make you realize that there is always a new way to tell an ancient tale.

Nayuta of the Prophecy

Synopsis:

Kenji’s younger sister, Nayuta, was born with horns on her head, a congenital absence of a human heart, and can only speak curses. When she is identified as the prophetic harbinger of the world’s end, she becomes a figure of fear and disdain by the public at large, and is held responsible for their parents’ deaths and others’ misfortunes. Yet Kenji remains committed to caring for and protecting his little sister, no matter what the cost to him. But how long can he hold out against the world?

Why we liked it:

This takes the classic “prevent the world’s apocalypse” trope and inverts it. While dark fantasy and doomsday may appear to drive the story, it is the bonds of family and self-sacrifice that we hope win against the soothsayer’s prophecy. Because just when we feel like we might sympathize with those who fear the horror she can bring, her brother helps us see her once again with fresh eyes and renewed sympathy.

ANIMATION STYLE

Extraordinarily unique, each episode was produced by a different staff and animation studio. This gives additional visual indicators that every episode is its own, self-contained story to be uniquely drawn and visualized. In the majority of the eight episodes, violence, gore, horror, and adult situations are depicted graphically without any glossing over. The range of settings and scenery has no constraints, so we are taken from outer space to the bottom of a lake, from a tiny bedroom to a mansion. Visually, we are captivated by what we are shown and never bored.

TARGET AUDIENCE

The target audience for Tatsuki Fujimoto 17-26 is not faint of heart. None of the stories can be called “light-hearted”, though some are not as dark as others. The target audience enjoys stories that don’t explain every detail, ask the viewer to derive their own conclusions, and don’t limit themself to only one genre per storyline. The audience who will enjoy this series the most are those who have an appreciation and longing for storytelling as an art form, as opposed to just a vehicle for entertainment. While it toes the line of disturbing to the point of off-putting in numerous instances, it never takes its characters to a place past redemption. Hidden among the frightening, ridiculous, and surreal darkness, there are thought-provoking themes which redefine the way we interpret genres, and how their intersection challenges our view about the humanity of these characters.

MUSIC

There is no opening theme that indicates this is a series. Rather, each story has its own music. Only one episode has a “theme” to it, which is integral to the plot.

Ready to watch Tatsuki Fujimoto 17-26? Head over to Prime Video to experience this one-of-a-kind anime.

SIMILAR ANIMES

While Tatsuki Fujimoto 17-26 is unique in almost every aspect, some episodes share similar plots and themes to other full anime series, such as:

Chainsaw Man for more of Fujimoto’s blend of surreal and cerebral. It has the same approach to mature and dark themes, so also not for the squeamish. Or try Look Back by Fujimoto for an intense bittersweet friendship story that is well-served by the highly-detailed graphical rendering of its characters in his unmistakable visual style.

Demon Slayer and Dororo for prioritizing familial bonds over the world’s opinions about supernatural and atypical humans, and struggling against insurmountable odds to protect their family, even when it requires a level of violence that challenges their purity of heart.

Takopi’s Original Sin for the depiction of dark themes of abuse and neglect combined in high contrast with the surreal positivity of an alien creature who creates unexpected consequences despite its best intentions.

Dorohedoro and Dan Da Dan for the surrealism and high-intensity visuals.

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The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

Subscribe now

You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

OVERVIEW

In 86 Eighty-Six, the Republic of San Magnolia, and its homogenous population of silver-haired and blue-eyed Alba, is waging a war beyond its reinforced walls against a fully autonomous and mechanized army from the Empire of Giad, called the “Legion”. The inhabitants of San Magnolia are unperturbed by this conflict, as their own autonomous force of “highly advanced mechanized drones”, the Juggernauts, handles all the fighting, resulting in zero casualties to the Alba population.

But this is a lie. The Juggernauts are neither autonomous nor mechanized; they are manned by the human “Eighty-Six”, the non-Alba population previously purged from the Republic. Exiled beyond the Gran Mur wall to the camps of District 86, they’re forced into lethal battle with the Legion, regardless of their age or ability. Under the dehumanized title of “Processors”, the Eighty-Six fight the Legion continuously until their inevitable death, with their corpses abandoned to rot on the battlefield. Believing the Legion army’s technology has an obsolescence date only a few years away, the Republic is unconcerned about the totality of the Eighty-six attrition. In fact, the Alba public are told that the Eighty-six are synthetic, pig-like creatures that only mimic humans, and whose existence is wholly disposable. These illusions blind them to the true consequences of their ignorant cruelty and thoughtless dehumanization of the Eighty-six: the Legion is consciously evolving and the war is far from over.

Enter Major Vladilena Milize (Lena), who is promoted to be the Handler of a unique group of highly successful Juggernaut Processors. In this role, Lena meets the elite Spearhead Squadron, led by a Processor with the Alba code name, “Undertaker”, but known by the Eighty-six and their previous Handlers as “the Reaper”. The Spearhead Squadron is entirely composed of Eighty-six who have managed to survive for years on the battlefield fighting the Legion. Unbeknownst to them, Lena is no ordinary Handler: she acknowledges that the Eighty-six are human, and refuses to refer to them as anything else, especially not as “pigs”. But the Eighty-six are not so quick to return the favor, calling her the “white pig” at every slip and error. They have little reason to put faith in her: Lena will be the Spearhead Squadron’s seventh Handler over Undertaker, because all previous handlers retired, requested to transfer, or committed suicide.

As both sides learn more about each other, Lena, through her inexperience and flawed thinking, realizes and accepts her own hypocrisy and culpability in the society of the Alba. In turn, the Eighty-Six accept that they can either trust her intentions and recommended strategies, or fight the Legion without any support or recognition for their sacrifice. When the grimness of their shared fate is eventually revealed, along with the inexorable advancement of the evolved Legion forces towards the capitol of San Magnolia, they all must choose new directions, new allegiances and new war strategies to ensure humanity’s eventual victory over this seemingly indestructible foe.

Note: The Autonomous Mechanized Legion

The types of Legion military are given in episode 2, but are provided here to help with the learning curve:

• Eintagsfliege: flying radar jammers

• Amiese: Scouts

• Grauwolf: Dragoons

• Lowe: Tanks

• Skorpion: Long range gunners

There are also the Shepherds and the Black Sheep, but those would be spoilers beyond this summary. And you meet them soon enough!

ANIMATION STYLE

Within the first minutes of this anime, the viewer is pulled into the high intensity action of the battles with the Legion, the acrobatic fighting maneuvers of the Juggernauts, and the stream of racist invective coming from their Handler.

And then his screams.

However, this battlefield intensity is not the main setting or pace for the majority of scenes. One of the strengths of 86 Eighty-six is the contrast and balance across different settings, activities, and moods. This anime deftly moves the viewer between the perspectives of Eighty-six from within their Juggernauts during battle, to Lena’s bedroom of quiet luxury within the bustling streets of San Magnolia, to the sparse outlying barracks where the Eighty-six live. High-paced, nail-biting action scenes of Legion battles are combined with low-speed, slice-of-life scenes at the Eighty-Six barracks, and of Lena struggling in the sterilized political world of San Magnolia, where the peaceful and orderly surface appearance covers the rot of propaganda, racism, and entitlement that pervades the Alba government and society.

Even in battle scenes, the visual contrast is high; the filthy and beat-up Juggernauts are juxtaposed against the shining Legion, who never appear any worse for wear no matter how ferociously the Eighty-six fight them. Despite the advanced military technology, 86 Eighty-Six does not feel entirely futuristic due to the way the natural world continuously inserts itself into the scenes, whether in the background or into the military technology itself. The striking similarity between the appearance of the military machinery with the carapaces of insects (Legion and Juggernaut alike), and the way they maneuver reflects this pervasive intersection between the natural world and the human (or Legion) designed technology of war.

Ambient lighting also plays a strong role in the visual impact of this anime. Despite its heavy wartime theme, this anime includes a striking amount of sunlight across the scenes: brightly streaming, filtered through clouds, rising at the beginning or declining at the end of the day, giving viewers a subtle nod towards the hope of a possible new dawn amidst all the pain and loss endured by the Eighty-Six.

By balancing these different elements of pacing, lighting and the inclusion of the natural world, 86 Eighty-Six creates the space for deeper and meaningful engagement with its weighty material, by letting the viewer “reset” to a different pace or setting, creating exquisite contrast. But there is no true lull in the tension; 86 Eighty-six doesn’t spare every life, and you never know who, if anyone, will return after a mission.

All of this variability delivers a story that is complex in a very compact way. Though only 23 episodes, there is plenty of time to show all of the action from dual perspectives, both of the Eighty-Six and Lena in the Republic, plus plenty of slice-of-life scenes, flashbacks, and cutaways to nature. Because of this, it never feels rushed or hectic, but presents all of the characters, relationships, plot elements, and themes in a deep and thorough way.

Every second is meaningful, and you want to always watch through the closing credits, as there are many additional scenes at the end, some of them with intense emotional impact. There is no “throwaway” material in 86 Eighty-Six!

TARGET AUDIENCE

The target audience for 86 Eighty-six enjoy anime based on historical events with a science-fiction twist, political and military stories, and those that deliver strong social commentary about dehumanization, classism and bigotry. Fans of 86 Eighty-six would be described as intellectual and humanist, have a strong sense of justice, are interested in the intersection of AI technology and human consciousness, and like to play strategic and/or military games.

OPENING, CLOSING & MUSIC

86 Eighty-Six has a strong opening that showcases the complexity of the series, as it shifts between fighting with the Legion, slice of life at the barracks, and political leaders pontificating. The opening sequence for the first eleven episodes includes the song 3 min 29 sec by Hitorie.

The opening for the second half shifts with the trajectory change to highlight the losses and connection by the Eighty-Six, and the intensified battle campaigns against the Legion. This evolved story arc showcases the song Kyoukaisen by amazarashi.

It also has three distinctive songs from SawanoHiroyuki[nZk] that you will want to put on heavy rotation after you watch this anime:

• Avid (featuring mizuki)

• Hands Up to the Sky (featuring Laco)

• The Answer (featuring Laco)

If there is other music in this anime that grabs your attention (and heart!), you can also look for the full 86 Eighty-Six original soundtrack with music by Hiroyuki Sawano and Kohta Yamamoto.

Be sure to find all of these songs on your favorite music streaming!

Ready to watch 86 Eighty-Six? We are sad to say that it lost its licensing in early 2026 on both Crunchyroll and Netflix.

We hope the dedicated fanbase for this lesser known anime helps it return to legitimate streaming soon.

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SIMILAR ANIMES

86 Eighty-Six delivers a tremendous amount of plot, action, and thematic content in just 23 episodes, enabling it to stand side-by-side with some of the most epic anime. If you have already seen these heavy-hitters and liked them, then you need to put 86 Eighty-Six at the top of your watchlist:

Full Metal Alchemist: Brotherhood for broad social commentary and fighting against a seemingly undefeatable enemy; the bond between military partners, the impacts of trauma on the psyche; the political implementation of dehumanization and exclusion.

Attack on Titan for intense war, military strategy, propagandist power, and fighting an insurmountable enemy who is not what it seems. It also boasts one of the highest ranked soundtracks and scores.

Gachiakuta for the class power dynamics and the separation of societies into the privileged and the discarded; lack of fair rule of law leading to false accusations by the power class and lethal exile of the undesirable; and the ability of skilled fighters to transform items in such poor condition they should be ineffective in battle into advanced killing machines to bring down inhuman enemies.

Dororo for questions around dehumanization and the sacrifice of the one for the many; for the ability of the pure heart to see past an atypical surface appearance that has been designated as inhuman; and for the powerful bond of the chosen family.

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SOURCE MATERIAL AND ANIME PRODUCTION

From Wikipedia: 86 Eighty-Six

LIGHT NOVELS

The light novels are written by Asato Asato and are illustrated by Shirabii, with mechanical design by I-IV. ASCII Media Works has published fourteen volumes since February 2017 under their Dengeki Bunko imprint. The light novels are licensed in North America by Yen Press, which has published 13 volumes as of December 10, 2024.

MANGA

A manga adaptation by Motoki Yoshihara was serialized in Square Enix’s seinen manga magazine Young Gangan from February 16, 2018, to June 2021. On July 6, 2022, it was announced the manga was cancelled due to Yoshihara’s health issues. Its chapters were collected in three tankōbon volumes. It has been licensed in North America by Yen Press.

ANIME

An anime television series adaptation was announced in a livestream commemorating the first anniversary of Kadokawa’s “Kimirano” light novel website on March 15, 2020. It is produced by A-1 Pictures and directed by Toshimasa Ishii, with Toshiya Ōno writing the scripts, Tetsuya Kawakami designing the characters, and Hiroyuki Sawano and Kohta Yamamoto composing the music. The CGI will be developed by Shirogumi. The series is a split-cour anime, with the first half airing on Tokyo MX and other stations from April 11 to June 20, 2021.The second half aired from October 3, 2021, to March 19, 2022.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

Subscribe now

You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

It’s difficult to name a more romantic trope than a protagonist who is markedly different from their peers. Whether due to special innate talents or tragic life circumstances, the stage is set for the protagonist to be separated and kept apart, if not as the sole major obstacle to overcome, then as some exacerbating factor of it.

But what if this inexorable difference from others is a secret?

Invisible to others, it isn’t identified outwardly as an obstacle, exacerbation or otherwise; it is simply one of their conditions for existence. Afraid to share it with other people, it prevents them from pursuing friendships out of fear they might inadvertently reveal it. Because if it got out, what they would endure in their social existence would be much worse than the internal loneliness they already feel.

Wakana Gojo in My Dress-Up Darling is this protagonist, and his secret involves his deep and abiding love of hina dolls and their creation. It’s a precious secret he holds close to his heart and hidden away, with an incomplete hina doll serving as his sole confidant and non-familial companion. With this love, his artistic abilities and reverence for the craft of garment construction and face painting also live in a quiet and dark place, out of view and protected from scrutiny and criticism by others.

In contrast to the magical character anomalies we commonly see in fantasy fiction, the tricky thing about being different in the real world of life is that it is often about what you love and are attracted to as a human.

Whether it is your hobbies and interests, or your friends and lovers, the difficulties that arise from being different often lay bare the what, who, and why you love something, and the reasons behind your investment of time, attention, and energy into it. In our socially constructed environments, we are fed the things we are supposed to love and be invested in: school gives us sports and culturally acceptable clubs, work gives us appropriate team and community activities, and our families provide us with occupational and social identities that we are expected to carry forward. Following these prescriptive norms makes conformity easy, and results in social interactions with minimal friction.

At least, on the exterior, that is.

Even within these normative frameworks, there are still distinguishing nuances to be navigated. If you choose to wear something other than ordinary clothes to go to school or work, one choice is acceptable (wearing a uniform), while another is not (wearing a costume). Learning these nuances and the expectations that come with them is part of growing up and becoming an adult. But beneath the surface, one’s evolving response to life becomes more complex when one is pulled by love to pursue interests or hobbies outside of these social norms, or finds one of them clashing with another.

And if conflicts with these norms get frozen in childhood, navigating these complexities as one matures can be subsumed by the coping mechanism of secrecy.

For both Wakana Gojo and Akira Ogata, these messages came young. For Ogata, her love of manga (and by extension, herself) is targeted by her parents as being immature and a waste of time. And she becomes aware that her peers at school will also find her manga obsession to be weird enough to get her the unwanted label of otaku. For Gojo, the early social criticism comes directly from his cousin and childhood friend, Non-chan. She is unequivocal in stamping his self-perception with the word “creepy”, for violating gender norms with his love of dolls as a young boy.

THE SEED OF A “CREEPY” SELF-PERCEPTION

Beyond the boundary of simply being different, this anime introduces the characteristic of “creepiness” as a thematic and emotional driver for both Wakana Goto and Akira Ogata with regards to their own creative pursuits. With this word, there is a perceptual difference in both degree and quality, as one moves from being “different” (unusual, quirky, etc.) to being “creepy”, with the latter implying that harm or stigma might come from association with that person. Being different may be lonely, but being creepy is where true isolation becomes the standard, as secrecy overtakes a self-expression that holds an increasingly negative view of itself.

We see this in Gojo, burdened with the label of creepiness for his love of hina dolls as a boy, with the wrongness of his interest implying some deeper perversion. Notably, this is ironic, since his grandfather and the people who professionally co-produce hina dolls are men. But this label puts Gojo into the category to be shunned and avoided, as though his creepiness will somehow taint the people around him, putting them at risk for the same treatment. He feels the exclusionary consequence of sharing his love for hina dolls so openly as a child; and so begins to keep his love a secret, to avoid being ostracized further by willingly excluding himself from friendship with others.

Because Gojo receives this toxic message as a child from a peer his own age, its judgment is received without any mitigating filter, and immediately internalized deeply. There is no presumed innocence of childhood, nor acknowledgement of the damaging effect from implying the perversion of creepiness on to a child, even when his very age precludes any perversion from simple curiosity and liking of something.

Absent any maturity of a perspective, this unsophisticated judgment ignores the known imperative for a master craftsman to start developing their skills from a very young age. Gojo’s choice to withdraw from friendships to pursue his dream to become a kashirashi, reflects his self-protective decision to hide, rather than deny, his love of hina dolls. Made at this early age to deflect any further association with creepiness, he sets himself on a course of singular focus in isolation from his peers. Luckily, his close ties with his grandfather nurture his devotion, and enable his skills to be advanced by the time he gets to high school. With this foundational support, Gojo is able to hone his craft safely within this domestic shelter of secrecy and distance from those he believes will surely cast the same judgment he received from his cousin. Despite the sting of shame we perceive in Gojo when he remembers this negative childhood declaration, he otherwise appears content to keep his proclivity for dolls separate from his outward presentation at school until his graduation.

Enter Kitagawa, who dramatically changes his trajectory when she invites him to support her own secret devotion of cosplaying her favorite anime/manga/game characters. Beginning with a dress, it rapidly expands to encompass wigs, make-up and props, but on a much bigger (and more realistic) human scale than a hina doll. Through combining all the elements of a kashirashi with the dynamic personality of Kitagawa and the emotional stories of the characters she cosplays, Gojo can’t help but become invested in cosplay himself to give his blossoming creativity an outlet. Once he expands his portfolio to include cosplay costumes, the secret source of his high value crafting skills (and his fears about others’ perception of him) comes out.

Gojo’s fears of how his classmates will view him once they learn of his devotion to dollmaking is a stark reminder of how lasting and impactful our childhood impressions are. We see in Gojo a knee-jerk, fearful reaction to revealing not only his gender non-conforming skills (sewing, makeup, wig styling, etc.), but also to exposing the deep roots of his family in hina doll creation and distribution. And we are struck by the degree of self-preservation attached to this fear: it is so strong that he has never tested the waters with even small revelations. It has been all or nothing for Gojo, and he has never questioned that approach.

In contrast to the continuation of the internalized creepiness he expects from his peers, his classmates’ reactions to his aspirations reflect their more mature and equally self-expressive interests. They become an entry point into a state of positive regard by others, especially when his skills are leveraged to win a cosplay contest at the annual school festival. At this point, what has been merely a seed of transformation within him fully flowers into outward visible reality for everyone to witness.

THE HIDDEN SELVES

My Dress-Up Darling starts with Gojo and Kitagawa as the focus; but by the end of season two, it has a range of characters grappling with complex perspectives about hobbies immersed in fictional limerence and gender non-conformity that oppose the world of prescribed norms. We continue to see the thematic recurrence of secrecy and self-abnegation as protective measures, and their eventual disintegration in the face of community acceptance.

Gender & Body Type Non-Conformity

While the series begins with Gojo’s atypical love of hina dolls as a young boy, it encompasses broader themes around gender non-conforming interests and behaviors. As Gojo and Kitagawa move deeper into the world of cosplay, they encounter people cosplaying across genders, plus the range of props, make-up, and camera angles that enable their convincing portrayal of the opposite sex. But beyond the techniques involved in this type of cosplay, (such as body altering shapewear, taping and binding), there is the thoughtful exploration of what it means to have permission in expression. The other cosplayers also grapple with questions about loyalty: to themselves (their size, build, gender), the characters they wish to portray, and whether it is acceptable for them to venture into portraying characters whose physical characteristics are too far away from who they naturally are. The series challenges them to interrogate why they believe they are – or are not – permitted to cosplay different kinds of characters, while providing them the opportunity to move past their own limiting beliefs about themselves.

Age & Maturity Mismatch

With these imaginative hobbies that start as children, we see an uncomfortable friction felt by the characters when continuing them into their teenage years and even adulthood. For Ogata, she is expected to leave behind her beloved manga once she enters middle school. And her resistance is met with the swift punishment of being forced to throw them away. The question around whether people are ready to outgrow their interests is again disregarded, as is the cultivation of their latent creative talents that are awakened through engaging with materials that spark their imagination. Both Gojo and Ogata go on to cultivate their creative abilities through cosplay; and for Gojo, far from cosplay distracting him from his traditional arts, his grandfather remarks on how his hina dollmaking skills improve the more he styles Kitagawa into all her favorite characters. But beyond the utilitarian benefits for the costume creators, it is the older friends who cosplay with them who remind us that people bring these activities into adulthood for both the joy and the antidote to the loneliness they feel when they participate with others in these whimsical activities.

Limerence & Living in the World of Fantasy

Underlying our characters’ actions, which move beyond passive content consumption into a significant investment of resources (time, effort, money), is an intensity of feeling towards their favorite fictional characters that can be aptly described as “limerence” in reality. Indeed, the aversion people feel towards those obsessed with fictional characters might stem from the subconscious awareness that this level of absorption is already considered dysfunctional in everyday relationships. Despite not all aspects of limerence being expressed, the phenomena still looks very close to what we see in Kitagawa and some of her cosplaying friends. For example, while live reciprocation itself is not possible (of affection, attention, etc.), the reactivity towards fictional content may include an emotional intensity as though it is happening in the real world where an interpersonal exchange may take place; or by extension, further exposure (such as a follow-up episode, event, special product release, etc.) leads to an imaginary “reciprocal” exchange with the same intensity of feeling.

The aspects of limerence that are most pronounced include:

Intrusive thinking about the object of passionate desire, including an acute longing for reciprocation.

Mood dependency based on the limerent objects actions, or one’s interpretation of these actions with respect to the probability of reciprocation.

Fleeting and transient relief from unrequited limerent passion through vivid imagination of action by the limerent object of reciprocation.

Buoyancy (a feeling of walking on air) when reciprocation seems evident.

A general intensity of feeling that leaves other concerns in the background.

A remarkable ability to emphasize what is truly admirable in the limerent object and avoid dwelling on the negative; even to respond with a compassion for the negative and render it, emotionally if not perceptually, into another positive attribute.

Sourced from Wikipedia: Limerence

This imaginative limerence becomes the vehicle that enables them to invest their time and energy into cosplay to delve deep into these characters and live their experiences. It brings them a sense of intimacy with these fictional characters and their stories, as well as to each other in the cosplay community. Through the intensive effort of cosplay, they move out of their inner isolation and into a web of relationships with other like-minded, supportive people who crave the same expressive activities and sense of reciprocity with their beloved fictional characters.

THE CREATED WORLD OF BEAUTY

In the end, through this persistent fictional immersion, who they really learn most about is themselves, an awareness that is amplified the more invested they become. They uncover the ability to stretch the boundaries of their own self-perception, and develop the ability to see beyond the physical limitations of who they are into an imagined reality. By exercising their imagination to extend into the real world, they build an empathy structure with themselves and others for expression, no matter what age, shape or gender it takes.

For Gojo, we see the expansion of his abilities through working with real bodies, which builds both technical skills and his capacity for empathy. Gojo expresses an empathetic resonance with the underlying stories of the characters he is designing and creating outfits for. With his inevitable expansion into prop creation, we see Gojo evolving from a traditional artisan focused on hina dolls into a creator of worlds through the language of theatrical production. His creative work stops being something hidden within him, and instead emerges as an integral part of who he is as a person. He becomes naturally and intuitively expansive into not only the fictional worlds of their characters, but also into the real people as cosplayers. He seeks to understand their motivations, and how cosplay provides an outlet for identities beyond the prescribed norms. And in parallel, builds the capacity to share his own uniqueness that does not align with the “typical” high school boy.

For Kitagawa, we see the same empathetic growth, only hers moves more inward, as she becomes more introspective and self-aware; in particular, regarding the impact and influence her behaviors have on those around her, and when restraint might actually be the better choice to express. And while her relationship with Gojo is initiated through a very transactional dynamic around cosplay, Kitagawa eventually finds herself wrapped in the nurturing embrace of Gojo’s home life with his grandfather. She becomes fully known by Gojo as her true self, from her physical measurements and the shape of her facial features, all the way through to her personality and feelings. She becomes known by Gojo in a way that is deeply intimate both for their young age, and lack of a corresponding romantic entanglement. In this space of vulnerability and trust, she can’t help but find her love deepening for this sincere and thoughtful person who emerged from the shadows of the sewing room at school.

It is no wonder that Gojo, who is so selective of using the word “beautiful”, eventually shares it with Kitagawa. In this new world she invited him into, full of creativity and vulnerability and expression, he finds the empathy and acceptance he has been secretly longing for. And in the world of cosplay, he discovers the beauty in being exactly who you are, even when you are being someone else.

Leave a comment and let us know what you think! And feel free to share other anime that are similar or that you would like us to write about at The Window Seat Anime Journal. Thanks for reading (or listening)!

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The Window Seat Anime Journal was created to provide a “book club” experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

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Did you enjoy reading a long essay? You can find other long essays at our Substack website, including this piece from the gentle isekai, Grimgar, Ashes and Illusions:

Or this dark fantasy story about a journey towards self-determination in Dororo:

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

OVERVIEW

In The Elusive Samurai, 14th century history serves as the backdrop for the story, with the collapse of the Kamakura shogunate setting the stage for Hojo Tokiyuki to elude death in favor of an unexpected destiny. As the rightful heir, Tokiyuki is raised with the expectation that he will follow in his father’s footsteps as another “puppet ruler”, enabling Tokiyuki to ignore his studies and martial arts training in favor of gleefully running away from his instructors and guardians. This charmed life is destroyed when a trusted vassal, Ashigaka Takauji, puts in motion a violent rebellion that results in the massacre of all the Hojo clan, but Tokiyuki. Rescued at the last moment by the eccentric Shinto priest, Suwa Yorishige, Tokiyuki flees Kamakura to live as a fugitive with Yorishige at his shrine in Shinano. But in accordance with his restive nature, Tokiyuki is given no respite there; instead, aided by his ability to see the future, Yorishige begins training him to lead a movement that will enable him to reclaim both his family’s honor and his birthright. Accepting his physical weakness in sword fighting and his optimal ability to dodge any attack, Yorishige focuses on training Tokiyuki to conduct war through “playing tag”; and by doing so, helps him learn to command a group of worthy and equally young retainers to be successful in heavy combat with the formidable enemies they face.

The Elusive Samarai and its key characters (Hojo Tokiyuki, Ashigaka Takauji, Suwa Yorhishige and others) are based on true historical events; however, the portrayal of these events, characters, their dialogues and actions are heavily dramatized for the series, including with supernatural abilities and demonic influences.

ANIMATION STYLE

The animation style of The Elusive Samurai is “ultra” in every sense of the word: ultra-vivid, ultra-crisp and ultra-dynamic. The extremely vibrant and fluid actions of Hojo and his retainers are also ultra-contrasted with close-up frames of their foe’s expressions, with their evil intentions exaggerated by heavy black lines and grotesque features. Even the aura surrounding the Shinto priest, Yorishige, radiates with ultra-vibrant beams of light, so blinding to others he has to click them off like a lamp shade.

The story arc is dense with various factions, locations, and a range of political power dynamics. Opposing characters to Tokiyuki are introduced with high action competitions and engagements. The animation is fast-paced to match Tokiyuki’s high speed “elude and escape” tactics, and the plot pacing is equally swift with multi-vignette episodes. The historical plot density combined with the high action and vibrant color palette make this anime extremely satisfying to watch, going above and beyond a typical young hero action story.

TARGET AUDIENCE

The target audience for The Elusive Samurai likes historical stories that are based around factual events, hero’s journeys (especially with young characters), and dynamic and vivid animation styles. Fans of The Elusive Samurai would be described as big into high action buddy stories, overcoming weakness arcs, and intense visuals, including those who enjoy action gaming.

OPENING, CLOSING & MUSIC

The Elusive Samurai has fantastic opening and closing sequences worthy of viewing with every episode, with high energy character animation synched to two ultra-catchy tunes. Check out Plan A by DISH// and Kamakura Style by BotchiBoromaru on your favorite music streaming!

(You can also try the great cover of Plan A “The Elusive Samurai” by Shinse Project.)

Ready to watch The Elusive Samurai? You can find it on Crunchyroll!

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SIMILAR ANIMES

Many acknowledge that The Elusive Samurai breaks the molds by checking multiple boxes across anime genres and themes, making it tough to match with other anime. Most recommendations for similar anime are either in the samurai period (Blue Miburo) or focus on the theme of being restored to political power (Golden Kalumy). Here’s some other alternatives to consider depending on what you prefer to watch:

For viewers that like historical anime with political intrigue in the vivid colors of this visual style, The Apothecary Diaries provides equally vibrant animation, albeit in a slower paced, detective-story format with a hint of potential romance.

For viewers that like the high quality animation combined with an action-driven plot involving an irreverent underdog getting restored to power with the support of his loyal retainers, The Rising of the Shield Hero is a modern isekai option in this style. Like many isekai, it also has a gamified aspect, although the first few seasons keep it to a low simmer for a more character-driven story.

For viewers that like a bit of dystopia and stories with strong power dynamics where young protagonists strive to reclaim their rightful place in the world, Gachiakuta presents a highly stylized and dramatically animated science fiction option filled with social commentary around class and environmental destruction.

And for viewers that like stories with young people overcoming insurmountable odds through loyal friendships in a historical dark fantasy genre, Dororo strikes the perfect balance of action and relationship in a visually stunning anime with a dark neutral palette.

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Source Material and Anime Production

From Wikipedia: The Elusive Samurai

Manga

Written and illustrated by Yusei Matsui, The Elusive Samurai was serialized in Shueisha‘s shōnen manga magazine Weekly Shōnen Jump from January 25, 2021, to February 16, 2026. Shueisha has collected its chapters into individual tankōbon volumes. The first volume was released on July 2, 2021. As of May 1, 2026, 25 volumes have been released.

In North America, the manga is licensed for English release by Viz Media, who simultaneously publishes the chapters digitally as they are released in Japan on its Shonen Jump website. In October 2021, Viz Media announced that they would publish its volumes in print, with the first one released on July 5, 2022. Shueisha also simulpublishes the series in English on the Manga Plus platform.

Anime

An anime television series adaptation was announced in March 2023. It is produced by CloverWorks and directed by Yuta Yamazaki, with scripts supervised by Yoriko Tomita, and character designs handled by Yasushi Nishiya. Yūsuke Kawakami serves as assistant director, and Gembi and Akiyuki Tateyama composed the music. The series aired its first season from July 6 to September 28, 2024, on Tokyo MX and other networks.

A second season was announced on October 6, 2024. Following a re-air of the first season on the Noitamina programming block on Fuji TV and its affiliates, the second season is set to premiere on the same block in July 2026.

Aniplex of America licensed the series and streamed it on Crunchyroll.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

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You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

IT’S MID-SEASON!

To mark the transition into the summer, we’re sharing the music that got us hooked right from the beginning of our favorite anime this season. You’ll want to download these catchy tunes from your favorite music streaming and put them on heavy rotation for traveling or just hanging out on the beach. Beyond the music, we’re going to look at a couple anime gems that are hidden in plain sight as nominees for The Anime Awards. Because we love sharing about the ones that live just outside of the spotlight, you’ll want to take a second (or a first!) look at these.

OUR FAVORITE SONGS FROM THE NEW SEASON

Gals Can’t Be Kind To Otaku!?

Shojo | Rom-Com

Watch the opening with HIDE AND SEEK on YouTube 📺

Kill Blue

Shonen | Action/Science Fiction

Watch the opening with ATTITUDE on YouTube 📺

I Want To Quit This Love Game

Shojo | Rom-Com

Daemons of the Shadow Realm

Shonen | Action/Fantasy

Watch the opening fly away on YouTube 📺

Watch the closing way out on YouTube 📺

FROM THE ANIME AWARDS

By now, we’ve all seen who stood in the spotlight of the Crunchyroll Anime Awards - and for good reason. But if you look a little beyond the circle into the shadow, there are two nominations that are hidden gems worth a peek.

Best Background | Kowloon Generic Romance

If you combine the existential questions regarding Replicants in Blade Runner with the ambient unrequited romance of Wang Kar Wai’s In the Mood for Love, and nestle it in the crumbling walls of a crowded and sweating city, you’ll have Kowloon Generic Romance. From its exceptionally detailed rendering of everyday objects, to the peeling paint, cracked concrete and rusting metal of the decaying built environment that makes up Kowloon, it deserved its nomination for Best Background. Every inch is drawn in painstaking detail to show both the current dilapidated conditions and remnants of the city’s past. Combined with the sensory saturation, you’ll be immersed in the nostalgia of its characters, who seem irrevocably rooted in a city that has an underlying history of impermanence.

We first meet Kujirai and Kudo working in a rundown sticky real estate office in the “second” Kowloon. Their casual banter about an obviously habitual lunch arrangement belies the upcoming surprise: Kujirai is pulled into a deep kiss by Kudo upon waking him from an afternoon nap, only to be shoved away when he claims he mistook her for another person. When she later finds a photo of Kudo and his fiancée sticking out in a filing drawer, she is confronted by the startling realization that she looks exactly like this other woman. And also, that she has no memories of her own. Naming his missing fiancee Kujirai B, she feels compelled to investigate her double to understand how the two of them are linked, and what this means for her own relationship with Kudo.

As questions about Kujirai B begin to bubble up to the surface, they are joined by broader questions around what the Second Kowloon Walled City really is, who the inhabitants are that live there, and the influence of Hebinuma Pharmaceuticals and the shimmering “Generic Terra” cube that hovers in the sky over the city. Kujirai shares with Kudo her observations of how short-lived things are in Kowloon, and he responds with recognition of the intangible quality that permeates Kowloon to the point of defining it:

For some reason, new stores close really quickly in Kowloon.

Kowloon is supposed to be a nostalgic place. A flickering streetlight. A moldy back alley. Noisy neighbors. Don’t they feel terribly nostalgic? I think this feeling is the same as being in love. ~Kujirai and Kudo, Ep. 1

From this foreshadowing about the influence of nostalgia, Kowloon Generic Romance delves into what it means to be the real version or a fake. Does one have the agency to choose to be one’s absolute self regardless of their origin, and can a copy ever truly replace the original, no matter how much you long for it?

The target audience for Kowloon Generic Romance likes dark romance, unconventional pairings, and questions about the nature of love under surreal circumstances. Viewers looking for a straightforward romance story may find Kowloon Generic Romance unsatisfying, as the other existential elements about the Second Kowloon Walled City bear equal weight with the relationship between Kujirai and Kudo. Fans of Kowloon Generic Romance would be described as futuristic, unconventional, interested in cloning, and intrigued by how consciousness and belief influence the appearance of reality. Viewers who like stories that involve all of these elements and a touch of romance will find Kowloon Generic Romance to be off the beaten path and thought-provoking.

For artists and visual creators who believe the background is a character all its own, Kowloon Generic Romance is a must-see. Even with the visual dynamism of Gachiakuta, which won the Best Background award, Kowloon Generic Romance was a true contender for detail and sense of immersion in the world it portrays.

Best Opening | Call of the Night - Mirage by Creepy Nuts

With it hyper-dynamic visuals, it’s hard to compete with Dan Da Dan, which took the Best Opening Award. But we think the opening for the second season of Call of the Night was a near miss for first place in this category. Paired with the song, Mirage, by Creepy Nuts, this opening sequence captures not only the Latin/Afrobeats timing of the song, but the drama of the vampires, their relationships, and the ruthlessness of the one who hunts them. It’s impossible to skip, and sets the perfect tone for every episode.

We’ll be posting a Snapshot for Call of the Night coming up this summer!

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

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You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

OVERVIEW

In My Dress-Up Darling, Wakana Gojo is a sheltered aspiring “kashirashi”, an apprentice of traditional Japanese hina dolls, who spends his time honing his skills by painting their faces and constructing their miniature kimonos. Due to a traumatizing childhood experience, maintaining secrecy around his unusual interests is tantamount, which keeps him isolated from his high school classmates’ more typical club activities. But when the popular and gyaru-styled Marin Kitagawa discovers him in the sewing room after school, she reveals her own problematic secret: her intense love of cosplay, and her ineptness at making the complex costumes of her favorite characters. In this serendipitous meeting, her desire to replicate her favorite characters with highly customized accuracy meets his desire to craft garments and make-up fit to purpose — albeit a purpose far removed from the elegant hina dolls he loves. Without warning, his modest and sincere approach to the world is turned upside down by her free-spirited lack of personal (and physical) boundaries. She charms and cajoles him through the intimacy of acquiring her measurements, viewing his first erotic materials, and opening his perspective from a formalized traditionalism to informing a garment’s design with a fictional character’s unique motivations and expression.

My Dress-Up Darling appears to easily fall into the “opposites attract” theme, as Kitagawa’s budding attraction develops into a strong crush on Gojo; however, Gojo appears more focused on their creative partnership (despite moments of lustful weakness), and vehemently denies any intention of moving towards a dating relationship. It is the personal transformative changes in these two that holds equal weight with any romantic potential, as Gojo learns to move past his restrictive modesty and traditionalist training to embrace more unconventional creative opportunities. Concurrently, Kitagawa learns to respect his personal boundaries, and develops an increased respect for appropriateness regarding the costumes she insists he engage with her on. The potential for romance between these two requires this maturation in both of them, as Gojo’s reserve implies the need for structured wooing, while Kitagawa inwardly acknowledges she needs a more sincere approach to communicate her own feelings if they are to move past being simply friends.

It is the deftness with which My Dress-Up Darling moves through a range of dichotomies (opposites attract, traditionalism vs modernism, historical cultural arts vs anime/manga cultural arts) that set this anime apart in the rom-com genre. By introducing these aspects early on and allowing them to interact naturally in the story, the characters are free to experience introspective and emotional developments, including: self-acceptance, the value and limitation of fantasy limerence, freedom of gender expression, and the liberation from hiding oneself that comes with true friendship.

ANIMATION STYLE

Taking place in an ordinary high school, My Dress-Up Darling uses realistic backgrounds with stylized, but believable characters to express the contrast between Gojo’s earnest sincerity and Kitagawa’s free-spirited exhibitionism. The dynamic between Kitagawa and Gojo is best described as “advance and parry,” with her delivering highly suggestive flirtation, and him countering with gentle chastisement and embarrassed dismay. A range of stylized special effects keep the emotional expression high and reactive, as the dynamic churn of their internal thoughts and feelings threatens to bubble up and break the surface.

In addition to the energy of their contrast and the play between their external and internal expressions, episodes are filled with deadlines and competing demands that keep the pacing brisk and engaging. They often include anime and video game snippets of the characters Kitagawa is cosplaying, so there are “stories within the story” that further contribute to the light-hearted and entertaining style of this anime.

TARGET AUDIENCE

The target audience for My Dress Up Darling likes anime & cosplay, “opposites attract” stories, and non-traditional rom-coms focused on high school dating life in Japan. Fans of My Dress-Up Darling would be described as imaginative, creative makers into fashion and costuming, romantic, and feel strong emotional ties to fictional characters. While the shojo category typically targets teenage or younger girls, the sincerity and depth of Gojo’s character combined with the level of the banter between Gojo and Kitagawa make this anime appealing across ages and genders.

Prospective viewers should note that this series contains mature content, including: sexualized language, imagery, and encounters both between characters themselves and within cosplay materials; gender non-conformity; and references to self-harm and sexual abuse in one of the video games referenced.

OPENING, CLOSING & MUSIC

My Dress-Up Darling includes lively openings showcasing the budding friendship between Gojo and Kitagawa with the song San San Days (燦々デイズ) by Spira Spica in season one, and Ao to Kirameki (アオとキラメキ) by Taigo Pereira in season two.

Closing sequences focus all on Kitagawa, suggesting how much she is encroaching on Gojo’s thoughts with the cute Koi No Ukue ( 恋の行方) by Akari Akase in season one, and the more sultry Kawaii Kawaii by PiKi (a special idol unit formed by Karen Matsumoto (of FRUITS ZIPPER) and Haruka Sakuraba (of CUTIE STREET).

Check out these out on your favorite music streaming!

Ready to watch this anime? You can find it on Crunchyroll & Netflix!

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SIMILAR ANIMES

For viewers that like the stylized realism and expressive visual effects, combined with romantic tension and pretending to be someone else, Pseudo Harem would fit the bill, while exploring a more straightforward high school romance story.

For viewers that are more interested in the role of fan service in relationships, Tamon’s B-Side takes the story out of the strictly high school setting and into idol fandom.

For viewers that love a “shy boy/gyaru girl” dynamic, you can’t go wrong with the budding love triangle of Gals Can’t be Kind to Otaku!?, or heading north for a clash of the straight-laced with the sultry in Hokkaido Girls are Super Adorable.

And for those ready to see how this all shapes up in adult life, Wotakoi: Love Is Hard for Otaku, shows the lives of adult people in relationships who have never given up their otaku interests.

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REFLECTION QUESTIONS FOR MY DRESS-UP DARLING:

• What drives Gojo’s (and other characters) need to keep their interests secret? Are these perceptions rooted more in their past or present? and if in the past, are they still relevant for the characters current age?

• How does cosplaying change the characters lives? do you think it holds them back or moves them forward in their lives?

• Is it ok to love fictional characters as though they are real? why or why not?

Leave a comment

We’ll be posting our own thoughts on some of these questions, so make sure to subscribe in time for the upcoming post: “Make What You Love, And Make a World That Loves You: creativity and self-expression in My Dress-Up Darling”.

Source Material and Anime Production

From Wikipedia: My Dress- Up Darling

Manga

My Dress-Up Darling (Japanese: その着せ替え人形ビスク・ドールは恋をする, Hepburn: Sono Bisuku Dōru wa Koi o Suru; transl. “The Bisque Doll Falls in Love”) is a Japanese manga series written and illustrated by Shinichi Fukuda. It was serialized in Square Enix‘s seinen manga magazine Young Gangan from January 2018 to March 2025, and compiled in 15 volumes.

Anime

An animetelevision series adaptation produced by CloverWorks aired its first season from January to March 2022. A live-action television drama adaptation aired on MBS‘s Dramaism programming block from October to December 2024. A second season of the anime adaptation aired from July to September 2025.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

Subscribe now

You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

THE AMNESIAC HERO’S QUEST

A treacherous journey into unfamiliar territory to defeat an enemy is the hallmark of a hero’s quest; but in Grimgar, the existential disorientation stemming from the protagonists’ transmigration and loss of all memories, uniquely imbues this quest with additional layers of interpersonal exploration. Instead of a known and trusted team confidently embarking on their journey, Grimgar begins with a group of completely amnesiac strangers struggling on the outskirts of an unfamiliar town to both establish their individual identities, and decipher their new relationships as the first steps of the quest. Colored by their communal amnesia, this isekai anime sends its protagonists on an alternate version of the hero’s quest, one without a map, seasoned guide, or aspirational destiny beyond the need for immediate survival. Before they can move into their realigned future, they must first mark a new place on the blank slate of this unfamiliar terrain, with nothing but their intuition to help select a role around which to build their new identity.

Rather than initiating their quest with known predispositions intact, it is through the choice of their occupational guilds that each character’s identity is created anew. Despite the strangeness of the occupations available in this society, which appears far more primitive than what they think they remember, their actions are not entirely arbitrary. There is a residual constancy in their personalities that gives clues of who they are, and the types of roles that intrinsically suit them. Beyond these surface clues, their choices indicate deeply rooted attributes of themselves that remain intact even without memories, or understanding what this new world holds for them.

Even as they struggle to master the skills of their selected guild, their role choice indicates that each member holds innate knowledge about themselves that is incorruptible. Beyond this initial determination of the guild that will enable them to contribute to their overall survival, each person bears responsibility to exert the ongoing concerted effort required in this space of existential uncertainty. By the consistency of their individual actions and willingness to invest in the team as a whole, these roles begin to solidify their new identities and set the course for future events.

No matter how loyal to one’s deeper self, an individual choice towards identity remains insufficient to build the genuine camaraderie that will determine a team’s success throughout a journey’s obstacles. For the group to cohesively persevere, there must be a sense of belonging not only to oneself, but also to their communal interests and shared goals. It is this lost sense of inherent belonging, along with memory and identity, that marks the third aspect of a typical hero’s quest that is absent here in Grimgar. The protagonists are joined together, not by mutual understanding or past experience, but for the sole reason of not being selected by any other team at the outset. In this fractured reality, the protagonists are left to perform their small heroic acts as misfits that no one else wanted to work with, in order to mend their sense of selves, establish new relationships, and uncover the meaning of their shared fate.

PARALLEL TRAJECTORIES AS A MIRROR OF ILLUSION

Grimgar further dismantles the singular forward progression of a hero’s quest by duplicating the protagonists’ shared experiences through the parallel storylines of Manato’s death and Mary’s survival. Rather than a character’s originating features serving as the catalysts for emotional evolution, (e.g., being orphaned, having hidden talents, or magical powers), Grimgar instead has the protagonists confront an alternate version of their own loss, a mirror reflecting back the same shock and paralyzing grief, as the driver for their deeper introspection. As the protagonists face how they all contributed to Manato’s death by allowing him to carry so much responsibility, so too Mary must face the death of her entire team due to her own exhaustion as their Priest and healer for the same reason. As a result, each individual struggles internally with survivor’s guilt, creating a grim, shared responsibility that threatens to undermine their cohesion as a team.

Through these parallel stories, they recognize that people are undergoing tragedies similar to their own, even in the isolated slice of the world they inhabit. It becomes an integral thread of their shared fate to vicariously relive the same experience through another’s eyes. Through this reflection, new perspectives arise from the force of empathy and contemplation of its alternate outcome; and they broaden their capacity to welcome another person into their group who feels a similar sense of having no place in which they belong. Their shared experience of grief and forced maturation as a team now binds them: a linkage far stronger than the randomness that drove their initial connections, because now they consciously choose each other as partners for their quest.

PURIFICATION BY ASH

As the team moves into the Cyrene mine to fight the fearsome Kobolds (the monsters who previously killed Mary’s entire team), their introspective journey further deepens into these parallel storylines with the dissolution of Mary’s undead teammates into ash. Because a corpse will rise as the undead unless it is cremated, the Dispel magic that renders them to ash provides the first step towards the closure that had occurred previously with Manato’s cremation. Throughout the arc of Grimgar, this process of dissolution to both physical and metaphorical ash (of corporeality, of naivete, of self-ignorance), facilitates the team’s ongoing growth of self-awareness, as their illusions about themselves increasingly fall away.

Kobolds are not the enemy. Our own weak selves are the enemy. ~Haruhiro, Ep. 11

As Mary embraces the ash of her friends in their release, the underlying psychic implications of Manato’s cremation rise to the surface with the upwelling tripartite symbolism tied to ash throughout their journey:

• To experience one’s memories and identity turned to ash by amnesia.

• To feel one’s emotional landscape turned to ash by grief and shame.

• To find closure by turning the body of a lost friend to ash.

Ash emerges as a merciless alchemical exchange involving the loss of beloved living people for increased visibility of one’s own inner landscapes: they cannot confront illusions about themselves until Manato’s death and cremation, and they cannot perceive the illusory fragility of their bonds to each other until the undead are turned to ash by Mary’s Dispel magic.

ILLUSION & ASH AS THE ENGINE OF THE QUEST

It is this alchemical exchange, of the certain, known, and corporeal for the illusory, amnesiac, and ashen, that drives the evolution of Grimgar and its characters. They are forced to consider what touchstones in their lives give them a sense of permanence about themselves, and what does it mean when those anchoring ideas, memories, and identities are reduced to ash in their new world’s journey. Absent any illusions about themselves from their past lives, they rely on instinct to choose a guild to guide them in a new direction. Even as they put forth their best efforts to rebuild themselves, the cycle restarts with the traumatic loss of their team’s spiritual heart and healing presence.

In turning the bodies of their Priest and Mary’s team to ash, they move beyond the boundaries their amnesia to confront and dispel their deeper self-illusions . Through loss and cremation, they enter a cyclical process where an illusion is turned to ash, and the dissolution to ashes helps them better see what other illusions may be blinding them.

This ash of their fallen teammates triggers an awareness of their inner potentiality that had been buried by the disorientation upon arriving in this new world. We witness the culmination of this potentiality at the end, particularly in Haruhiro, as his latent talents emerge under duress, and enable him to kill the formidable Death Spots, in the Cyrene Mine. Even though he is temporarily separated from the others, they as a team are able to regroup under Ranta’s spontaneous leadership, and all escape the mine intact. As this victory marks the resolution of their parallel stories, their questions of identity, and their struggle to belong, final closure is brought to Manato’s grave, adorned with its own Volunteer Soldier’s badge; and they give a final farewell to the past to unbolt the gate of their renewed future.

Leave a comment and let us know what you think! And feel free to share other anime that are similar or that you would like us to write about at The Window Seat Anime Journal. Thanks for reading (or listening)!

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Did you enjoy reading a long essay? You can find other long essays at our Substack website, including this piece from the dark fantasy, Dororo:

Or the high school mystery series you are sure never to forget, Shoshimin:

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

OVERVIEW

In Barakamon, an impulsive and egotistical calligrapher from Tokyo is sent to Fukue Island by his father, after he attacks a Director who criticized his work for being too boring in its over attachment to the fundamentals. From the moment Handa lands on the island, the incongruity of village life begins to wear down the guarded defenses he brought from his urban upbringing, and exacerbate his uncertainties around his artistic identity. He is inundated with the high-volume, rough-housing ways of the village youth, (including Naru, a seven year old girl who adopts him almost instantly), and is forced to shed his tight-laced conservative approach to both life and calligraphy.

Barakamon is a story where a singular talent meets the influence of community, as Handa learns a new pace of life and the importance of relationships when you depend on others in your environment. Despite coming to the island to improve his calligraphy, he increasingly sets aside writing practice to spend time with the island’s children and teenagers, who provide him with an extensive list of “first” experiences and opportunities to be amazed by nature. As he goes from feeling exiled to being embraced by his new community, the transformative effects expand like ripples into his friendships and familial relationships, his standing in the calligraphy world, and his personal identity as an artist.

ANIMATION STYLE

Barakamon is a realistic, “slice of life” anime that showcases the unique pace and unsophisticated charm of a small community on Fukue Island, including plenty of rough and tumble interactions with children, injurious mishaps by Handa, and moments of sweet generosity from the elders. In true form to this genre, Barakamon relies more on the growth of relationships between the characters than any particular plot development. Each episode includes a range of short vignettes that enable the sun-drenched languor of the island to pull you into days of play and small adventures.

However, the pacing is by no means slow, as Naru sets the speed at continuous movement with her boundless energy. Add in a couple of teenagers and a range of plentiful insects, and you will be right there with Handa struggling to keep up. You will feel his tumultuous emotional ups and downs with him; but even more so, you feel joy and satisfaction when you see him laughing and shouting as the spontaneous new style of calligraphy emerges from his brush onto the canvas.

Barakamon is a consistently ranked favorite of “slice of life” anime lovers!

TARGET AUDIENCE

The target audience for Barakamon likes realistic stories that are relationship-driven, including “fish out of water” situations, friendships across wide age ranges, and questions about talent and success. Fans of Barakamon would be described as thoughtful, warm-hearted and humorous, who love calligraphy or other artistic endeavors that require persistence and effort. They also value the perspective of children, the importance of play, and appreciate regional deviations from traditional cultural norms.

OPENING, CLOSING & MUSIC

Barakamon has a great opening sequence with music by Super Beaver that is worth watching every episode to set the mood. Check out Rashisa on your favorite music streaming!

Especially make sure to keep watching past the closing credits, as there is always an additional cute vignette at the very end of each episode.

Ready to watch Barakamon? You can find it on Crunchyroll!

SIMILAR ANIMES

For “slice of life” viewers that like the theme of a Tokyo transplant finding life lessons by engaging with a small child, Poco’s Udon World checks those boxes, while also including a charming supernatural element as well.

For viewers that want to explore the intersection of talent and tireless effort in pursuit of mastery, then the shoji players of March Comes In Like A Lion provide a range of admirable characters in a story arc that draws deep from the well of triumph over loss. And with little Momo thrown in the mix, you get that adorable toddler energy too!

If you want the same kind of friendship story across an age gap, but feel like stepping out of the lighthearted “slice of life” genre, then Dororo is the perfect dark fantasy option to explore.

QUESTIONS TO CONSIDER WHEN WATCHING BARAKAMON

• Is it more important to strictly follow tradition, or is moving beyond the boundaries of tradition what makes a person a true artist?

• When you move to a new place, how much should you expect to be able to keep your existing “culture” and how much should you expect to adapt?

• Is being an artist about working in isolation or about engaging in the environment and community around you? Is there an ideal ratio of each you should follow?

• Is any art purely “abstract”? or is all art imbued with some sense of living entities?

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Source Material and Anime Production

From Wikipedia: https://en.wikipedia.org/wiki/Barakamon

Manga

The manga started with three one-shots published in Square Enix‘s Gangan Powered magazine from February 2008 to February 2009, and began serialization on the Gangan Online website on the same month; it was also serialized in parallel in the Monthly Shōnen Gangan magazine from July 2014 and finished in December 2018; it resumed for a limited time in the magazine from April to September 2023. Its chapters were collected in 19 tankōbon volumes. In North America, both the original manga and the spin-off have been licensed by Yen Press.

Anime

A 12-episode anime television series adaptation, produced by Kinema Citrus, aired from July to September 2014. The anime adaptations have been licensed by Funimation (later Crunchyroll).

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You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

WHAT WE WATCHED FROM THE NEW SEASON

Agents of the Four Seasons Dance of Spring

Synopsis from Crunchyroll: When the Agent of Spring, Hinagiku Kayo, is abducted, spring itself vanishes—plunging the world into unending winter. Refusing to give up, her devoted guard, Sakura Himedaka, searches for her for years. When Hinagiku suddenly returns, the two set out to restore the lost season, face the past that tore them apart, and reclaim the warmth they refuse to lose again.

Reflections From the Window Seat: This anime explores themes of deep interpersonal bonds, betrayal and resilience. It’s a great anime for people who enjoy observing seasonal changes and stories with a connection to nature. Like a knight to a queen, it showcases lifelong relationships of duty, loyalty and love. As the story is unfolding, romantic longing and conflicted emotions are also being woven in.

While not the same plot structure, the relationship of Hinaigku and Sakura is reminiscent of the guardians and gods in the anime, Noragami.

Daemons of the Shadow Realm

Synopsis from Crunchyroll: Yuru, a young hunter who lives in a small village deep in the mountains, hunts wild game and leads a humble life with Asa, his younger twin sister. Their peaceful lives are torn apart when a dragon’s roar echoes across the sky. What secrets lurk within their village? What fate awaits them? Enter a breathtaking mystical fantasy as exciting Daemon battles intertwine the mysterious and supernatural.

Reflections From The Window Seat

In this tale of fated siblings reunited from the creators of Full Metal Alchemist, what begins with a primitive city in a fantasy world suddenly transitions to modern day Japan. But that doesn’t preclude the presence of supernatural Daemons and other oddities in this story of a surface betrayal that hides a secret plot underneath.

This is a great anime for people who like complexity and suspense, and don’t need the whole story’s purpose at once. Viewers who like a more straightforward introduction to the premise of the story might find this anime challenging to get a foothold in.

The visuals are stunning and the music by VAUNDY & Yama can’t be beat. Find Fly Away and Way Out for the opening and closing songs on your favorite music streaming.

Gals Can’t Be Kind to Otaku

Synopsis from Crunchyroll: Takuya Seo is a quiet otaku who keeps a low profile at school—until two gals from his class start talking to him. The cool but scatterbrained Kei Amane and the cheerful, energetic Kotoko Ijichi couldn’t be more different, but the three soon bond over anime, games, and shared fandom. But one question remains: do nice gals who hang out with otaku really exist?!

Reflections From The Window Seat:

This anime is a super sweet otaku/gyaru rom-com love triangle. Filled with unexpected twists and thoughtfully portrayed characters, it celebrates being different from your peers and having the vulnerability to express yourself. Viewers will find similarities to My Dress-Up Darling and Hokkaido Girls Are Super Adorable.

Kill Blue

Synopsis from Crunchyroll: Legendary hitman Juzo Ogami has never failed an assignment. But after a mission, he’s stung by a mysterious wasp and wakes up in the body of a 13-year-old boy! And to make things even weirder, he receives a bizarre new order: infiltrate a middle school. Now the once-feared assassin must balance the chaos of school life with his deadly work, all while searching for a way to regain his adult body!

Reflections From The Window Seat:

The Japanese version of John Wick is transformed into a middle schooler, and rekindles his love of learning while saving the girl. Incredibly funny and fantastic action!

Pardon the Intrusion, I’m Home!

Synopsis from Crunchyroll: Rinko, a quiet office worker and secret otaku, just wants to enjoy her anime in peace. But when a neighbor keeps banging on the wall, she asks her other neighbor, Satsuki, for help. Their attempt to resolve the issue goes wrong, leaving a hole in the wall that reveals…Usaharu-sensei, the creator of Rinko’s favorite manga?! Now with nowhere to hide, their lives begin to overlap in surprising ways!

Reflections From The Window Seat: For people missing Tamon’s B-Side, this anime will fill the idol-love-interest hole in your heart. When a young woman finds herself sandwiched between the apartments of her favorite manga artist and her dream IRL boyfriend (albeit a bit heavy on the mysterious past), comedic hijinks ensue. This love triangle isn’t quite sure of itself yet, as these strangers collide in fake relationships, manga fantasies, and secrets yet to be revealed.

Re:ZERO

Reflections From The Window Seat: A continuation of this complex isekai where the main character can “return by death” to regroup in the fight against evil forces.

No spoilers here! If you want to watch a dark reincarnation iseakai set in a fantasy world, then get started watching Re:ZERO season one.

Witch Hat Atelier

Synopsis from Crunchyroll: In a world where only witches can cast magic, they must avoid being seen by ordinary people while casting. While Coco does her chores, she daydreams of becoming a witch. When a young witch named Qifrey visits her village, Coco uncovers the “absolute secret,” becomes Qifrey’s apprentice, and begins her studies. This is the story of children who encounter despair, yet reach out toward hope.

Reflections From The Window Seat: Last here alphabetically, but topping everyone’s charts for its lush visuals, heartbreakingly expressive characters, and storybook pop-ups.

An exquisitely rendered fantasy story of an orphan who becomes a gifted magician that is so fresh and poignant, you’ll feel like you’ve never seen this genre before. Highly recommended!

WHAT WE WATCHED THAT WAS NEW TO US

Undead Murder Farce

Synopsis from Crunchyroll: In this world, creatures like vampires and werewolves still walk about, but Aya Rindo can’t say the same for herself. This beautiful disembodied head, carried by her maid Shizuku Hasei, is a detective in search of her stolen body. One evening, they meet half-human Oni Slayer Tsugaru Shunichi, who offers a lending hand. Now, the trio is traveling through Europe, solving mysteries along the way.

Reflections From The Window Seat: This anime is a Sherlockian fantasy where the world continues to by inhabited by supernatural creatures, despite a great Purge. A trio comprised of a demi-human, the disembodied head of an Immortal and her hand maid travel to Europe in search of her body while solving mysteries along the way. A solid anime for viewers who like Sherlock mysteries and character crossovers from other fantasy/horror/mystery genres. Fans of Mugen from Samurai Champloo will appreciate the fighting style of Tsugaru when he shrugs off his coat and slouch to combat a supernatural.

Let us know if you enjoyed the post and what anime you are watching from the new season!

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OVERVIEW

In Grimgar: Ashes and Illusions, a group of teenagers awaken to an unsettling realization: they are in a strange kingdom in a foreign world, with no memories, and they must labor together as “volunteer soldiers” whose only commonality is being rejected from all the other newly-formed teams. From the get-go, we see them struggle to wield weapons and fight, but especially to kill the other creatures whose tokens are their only means of income for survival. On top of this, they face the challenges of living in close quarters, with both clashing personalities and budding feelings of attraction between group members, as each person assumes a new role and identity that defines how they, as an individual, will contribute to the group as a whole.

Just when their hunting skills improve and their financial circumstances finally brighten, the group loses one of their own, and their ensuing struggles go from challenging to insurmountable. Without that key member, there seems little likelihood of the cohesion needed for survival. The team eventually finds a replacement to fill the gap, only to discover she carries a devastatingly similar grief-stricken story that mirrors their own.

To move past their losses and expand their territory, they fight their inner doubts, outer conflicts, and stronger adversaries to wholly reclaim themselves in this new world.

ANIMATION STYLE

Unlike so many isekai anime, that rely heavily on extravagant, Bavarian cities and royal intrigue for the “otherworldly” non-Japan setting, the world of Grimgar is a perennially soft-lit, watercolor depiction of an old Italian-style countryside town. Due to their marginal status as “volunteer soldiers”, they live on the town’s periphery, only interacting with the townspeople to acquire food, clothing and shelter. While the expressive characters add a touch of realism against the muted backgrounds, the setting evokes a potential dreamscape from which they might all wake up at any moment. Fight scenes, conversational scenes and daily life scenes appear in equal measure, resulting in a moderate pacing driven by their emotional journey, as well as the story’s life-building events.

TARGET AUDIENCE

The target audience for Grimgar likes low-key fantasy quests involving teens and young adults, and welcomes hints of romance. They appreciate the presence of magic, spirituality, and roles-based skill building, combined with the courage to face increasingly more powerful adversaries. Fans of Grimgar would be described as imaginative and introspective, who appreciate periods of slow activity, conversations about group leadership, and broad themes around friendship, responsibility, and loss.

If you like the consistent high-paced action, elaborate political drama, and accelerated “leveling up” tropes common to isekai anime, you may find Grimgar too slow and self-reflective. But if you are drawn to realistic “slice of life” anime, you will find Grimgar a refreshing otherworldly take on familiar, everyday life, with a steady pacing and depth you expect from the slice of life genre.

OPENING, CLOSING & MUSIC

Grimgar has a brief, delayed opening sequence and a closing sequence with a short preview with music by (K)NoW_NAME. Check out Knew Day and Harvest on your favorite music streaming!

Ready to watch this anime? You can find it on Crunchyroll!

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SIMILAR ANIMES

For anime where isekai is the main story catalyst and you want a higher dose of royal intrigue and action, try The Rising of the Shield Hero, which also relies on building skills and teams from the ground-up for survival. While romance is pretty low key in Shield Hero, Naofumi leans towards a touch of harem in his companions that keep it appealing across the genders. But don’t think these female characters are just there to be saved. They fight front and center with Naofumi every step of the journey!

For an isekai-romance hybrid with a touch of slice of life, Kakuriyo Bed and Breakfast for Spirits is an excellent choice, following Aoi as she is swept into the spirit world of the ayakashi, only to discover she has been betrothed to an high-ranking ogre and must use her delightful cooking skills to navigate the politics of her new home in the Hidden Realm.

And if you don’t require the isekai element, but want to see a bit more magic in a slice of life anime that deals with similar themes of grief and loss, you can watch either Poco’s Udon World or A Galaxy Next Door.

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REFLECTION QUESTIONS FOR GRIMGAR

• Are the protagonists on a “hero’s quest” in this isekai? And what makes this different from the typical presentation of this genre?

• How are parallel storylines used to drive the story forward? What is their purpose and are they successful at it?

• What are the main symbolisms in this story, and how do they contribute to the theme?

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We posted own thoughts on these questions, so be sure to read this long essay post after you watch the series:

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SOURCE MATERIAL AND ANIME PRODUCTION

From Wikipedia: Grimgar of Fantasy and Ash

Original Light Novel

Grimgar of Fantasy and Ash is a Japanese dark fantasy light novel series by Ao Jūmonji, illustrated by Eiri Shirai.

Manga

A manga adaptation by Mutsumi Okubashi was serialized in Square Enix‘s magazine Gangan Joker from 22 April 2015 to 22 June 2016 and collected in three volumes. North American publisher Yen Press announced their acquisition of the manga on 23 November 2016.

Anime

An anime television series was written and directed by Ryosuke Nakamura and produced by A-1 Pictures. The anime is licensed in North America by Funimation as Grimgar, Ashes and Illusions, while J-Novel Club has acquired the rights to publish the original novels in English and Yen Press published the manga adaptation.

The Window Seat Anime Journal publishes both spoiler-free “Snapshots”, and long essays for those who want to a deeper exploration of its themes. Make sure to subscribe and never miss a post!

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You can view our entire collection of writing on our Substack website at:

The Window Seat Anime Journal

The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

It’s hard to imagine an elaborate Japanese dessert filled with the flavor of foreboding, but from the first glimpse of Cecilia’s Tropical Summer Special Sundae, the discomfort is palpable. Whether it’s the massive size or the exorbitant cost, or the expression of mild shock and distress on Kobato’s face when confronting the insurmountable tower of dessert, a sense of unease leaks into the shadowy interior of the cafe on their date to mark the end of summer. For an instant, faith in Osanai’s bottomless appetite for sweets wavers slightly, even as we watch her serenely nibble her way through the mound of tropical fruit on top. Regardless, it becomes evident before both sundaes are finished that the only thing matching the magnitude of Osanai’s love of sweets is her capacity for revenge.

THE QUEST TO BE ORDINARY

In many ways, Shoshimin is a practice in having sympathy for those who are different and unusual; and especially for those you might not actually like that much. From the start, Kobato and Osanai present themselves as bright and quirky, then a little odd, and then perhaps a little obsessive, stubborn…and on it goes. As we see each mini-mystery solved, we are shown another piece of these characters’ driving inner dynamics - and it is not all fun and games. The capacity to be arrogant, controlling, deceitful, stubborn and selfish – negative qualities which at first seem to be hapless foibles, begin to evoke a sense of aversion. And despite the exquisite desserts that appear one after another throughout the episodes, a bitter undertaste increasingly permeates the story. Our first glimpse of this dark internal process happens when Osanai expresses her desire to get back at the thief that stole her bicycle:

Call it quits? No, we’re just getting started. We finally caught him. He ruined my spring exclusive tarts. He threw my bicycle away when he had no more use for it. I was hoping for a peaceful school life and I’ve already been treated like a thief. The guidance counselor has summoned me twice. What do you think of that? I need to make him pay. ~Osanai (Ep. 3)

While flawed, the two friends do make an effort to be, if not “good,” then at least “ordinary”: they work to put aside their past, troubled middle school experiences to cultivate a renewed sense of belonging and conformity with their high school peers. Whether they achieve real transformation, or if they simply use a facade of “ordinariness” to mask the perpetually warped gears inside of them, is debatable. Even if we aren’t sure how successful they are, their conscious and intentional effort invites a modicum of sympathy.

Admirable as their intentions sound, not everyone is persuaded by this self-improvement endeavor; some even find it disingenuous. This conflict of intention and perception emerges when Kobato consults Kengo on how to protect Osanai in case she behaves rashly towards the bicycle thief. When Kengo challenges Kobato to protect her himself, since Kobato frequently inserts himself into the problems of others to deductively solve them, Kobato bristles:

I’ve been seeing the truth of every situation before everyone else since elementary school. I’m done getting involved and being despised for it. I’m trying to be a modest, upright, ordinary person who’s satisfied with the status quo. What’s wrong with that? ~Kobato (Ep. 3)

To which Kengo responds:

I don’t know what happened to you, but I have no interest in continuing a friendship with this current sly, petty version of you. You used to be an asshole, but I didn’t hate that. ~Kengo (Ep. 3)

We too question our protagonists’ integrity, as we intuit more about their inner motives and compulsions. It’s especially telling when we witness them being less than honest or generous in the face of temptations, even with each other. We get an inkling that while Kobato and Osanai are quick to judge, they are equally susceptible to hurting others. Left in situations where they believe they can act with impunity, they succumb to their own selfish desires through sly and petty “crimes” that, while seemingly harmless in the moment, foreshadow the intrinsic flaws that become their undoing in the end.

SLY AND PETTY CRIMES

As the mid-season brings a lull in criminal encounters outside of school, we get the opportunity to recalibrate our perception of the two protagonists, and look deeper at how their interpersonal dynamics impact their individual degree of agency. These two episodes set up the consummate question over who is really driving the story arc: the brilliant deductionist who can pick apart any scheme, or the master strategist who leaves no part of her plan to chance?

In a darkly funny and ironic twist of events, Osanai receives “just desserts”, and a literal mouthful of hot mustard, when she herself commits an act of theft and steals a pastry from the newspaper room. Indeed, it makes you wonder if this singular incident of disappointment and thwarted outcomes reinforces in Osanai that acting on impulse is always substandard to a well-orchestrated plan. While we too share Kobato’s amusement at seeing his clever friend outsmarted by another’s random actions, we also are a bit taken aback by her indignant hypocrisy.

Knowing this about her, we shouldn’t be surprised when Osanai reveals her “Osanai Sweets Selection: Summer” plan to Kobato, and reveals her first step in orchestrating his leisure activities to revolve around her throughout the summer - all under the innocuous auspices of sharing her favorite confections. But Kobato leverages his sharp deductive skills to seize an advantage over Osanai during one encounter, by obfuscating the unequal numbers of Charlotte pastry he brought her while she leaves the room for a phone call. Watching Kobato go through elaborate logic machinations of how to hide from Osanai that he has eaten one of her extra Charlottes is both disarming, in witnessing his newfound delight of eating a novel dessert, and disturbing in his willingness to opportunistically take more than his fair share of something he knows she genuinely loves. And while he does almost succeed through his meticulous attention to detail, it is when Osanai still figures out his petty theft that we suspect Kobato might be outmatched.

THE DISSOLUTION OF THE ORDINARY

While Osanai controls their encounters through the Sweets Selection: Summer tour, Kobato at times appears put out by the possessive and bossy undercurrent, but willingly goes along with it. But as a couple, even a platonic couple, we see their strange chemistry tinged with avoidant or deceptive behaviors. Kobato goes to the one meeting place of their tour date early only to eat by himself, but then encounters Osanai already there and in disguise. Even more unexpected is the appearance of Kengo, and the unsettling return of increasingly unsavory people in their midst: thiefs, drug addicts and bullies. Suddenly, everyone seems to be connected, but the alliances are unclear. When we see our main characters on their own, no longer with that quirky maybe/maybe not couple chemistry, we begin to wonder if we trust either of them?

It should not be a surprise that by the time Cecilia’s Tropical Summer Special Sundae finally makes its appearance, the events of Osanai’s kidnapping and rescue are not what they appear to be. Unshockingly, the relationship between Osanai and Kobato begins to fray rapidly when the manipulation of the past few months is slowly revealed through Kobato’s deductive prowess. Indeed, it is not just the facts of the summer’s nefarious events, but the inexorable way that Kobato uncovers each layer, without regard for Osanai’s increasing visible distress. Terrifyingly, no matter how deep he digs, there is always another layer to Osanai’s plot.

By having me follow the map the way you did, you were putting it all in my head and priming me to recall it as soon as you needed me to. I totally let you train me…you got me good. I admit I am disappointed in myself for letting you best me. ~Kobato (Ep. 9)

Here, their efforts to be ordinary or mask their brilliant, yet terrible, extraordinary traits, breaks down. Stripped to the essence of who they actually are, their encounter morphs into a prosecutor questioning a suspect, and that suspect using every opportunity to deflect and deceive. Kobato presses forward with no regard for Osanai’s tears; Osanai laughs when the true breadth of her plot is revealed. Like a sick pendulum, we increasingly see the worst of both with each swing.

Kobato confronts Osanai bluntly with the repercussions of her actions.

You can’t treat crime like snacks, Osanai-san….this is a terrible lie. You’re a liar. ~Kobato (Ep. 10)

To which Osanai responds.

I broke our promise of becoming ordinary spectacularly. But you know, so did you. The way you interrogated me right now…you seemed to enjoy it. You lie about not wanting to solve mysteries. In other words, your trying to become ordinary is also a lie. ~Osanai (Ep. 10)

Osanai continuously pleads for a more sympathetic position, and attributes its justification to the coldness of his approach and her fear of what the gang might have done to her had she not set up the kidnapping. Yet, when she expresses disappointment in herself, it is not for the complex and multi-layered lie she told over the span of the summer – she is disappointed that Kobato was able to see through it. We are torn between sympathy and repulsion throughout her confession, and Kobato’s willingness to be manipulated. But we see no such equivocation when Osanai proposes the dissolution of their friendship, on the basis that their quest to become ordinary will never reach fruition, and their continued association only exacerbates their bad habits. This again arouses that tug of sympathy in response to Kobato’s pained expression, as his counter position to maintain their relationship is no match for her resolve.

And with that, we deduce the final truth: for all his brilliant conclusions, Kobato will forever be one step behind her.

Leave a comment and let us know what you think! And feel free to share other anime that are similar or that you would like us to write about at The Window Seat Anime Journal.

Thanks for reading!

Leave a comment

The Window Seat Anime Journal was created to provide a “book club” experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

Make sure to subscribe and never miss a post!

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Did you enjoy this long essay? You can find other long essays at our Substack website, including this one: Human Without, Human Within: the embodied curse of Hyakkimaru in Dororo.

OVERVIEW

In Pseudo Harem, Rin Nanakura has a “crush at first sight” for Eiji Kitahama, and his clever antics in their high school’s drama club. But when he confides his curiosity about having a harem of girls in love with him, she can’t resist the challenge to showcase her acting abilities. On the spur of the moment, she invents a “harem” of girls for him to interact with, that eventually becomes half a dozen different – and quirky – personalities. Eiji is the perfect quick-witted senpai counterpart to her dramatic hijinks, alternating between being smitten by one of the “harem”, or pulling out a fresh joke that leaves Rin scrambling for another character to meet his challenge. Always patient and kind, Eiji lets Rin set the pace, even though we get clues along the way that he also might not be completely joking.

While the alter egos create opportunities for a variety of flirtatious encounters, the different egos become a quick escape for Rin when she thinks she has shared too much of her feelings. And the more she expresses her feelings through the harem, the harder showing her true feelings – and her true self – becomes. As the series progresses without Eiji letting on that he loves anything other than her harem characters, we wonder if Rin, and all of her harem, will be love unrequited; or if she will finally take the plunge to confess.

ANIMATION STYLE

Taking place in an ordinary high school, Pseudo Harem uses realistic school settings with lightly stylized characters, combined with lots of special effects for thoughts and feelings. Backgrounds filled with bubbles, hearts, sparkles or other effects appear, depending on the character Rin is playing or the context of the situation. And special effects indicating surprise, embarrassment, and general romantic angst are in heavy rotation around the characters heads, heightening the romantic power of the harem beyond a typical “slice of life” depiction.

In addition to the energy of the visual effects, each episode contains a few different vignettes that keep the pacing brisk and satisfying. Like a “cat and mouse” story that focuses exclusively on romance, Pseudo Harem is a seriously funny, endearing, and very clever anime.

TARGET AUDIENCE

The target audience for Pseudo Harem likes quirky rom-coms, especially those focused on high school dating life in Japan. Fans of Pseudo Harem would be described as romantic, humorous, drama geeks, and fond of atypical love stories. While the shojo category typically targets teenage or younger girls, the strength of Eiji’s character and the level of the banter between Eiji and Rin make this anime appealing across ages and genders.

OPENING, CLOSING & MUSIC

Pseudo Harem has a cute and energetic opening sequence filled with the whole pseudo harem to the upbeat tune of Blouse (ブラウス) by Gohobi. Be sure to make it a favorite on your music streaming of choice!

You’ll also want to be sure to watch past the closing credits on each episode to see the charming extra vignettes of Rin and Eiji talking about their relationship.

Ready to watch this anime? You can find it on Crunchyroll!

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SIMILAR ANIMES

For viewers that like the stylized realism and expressive visual effects, Yano Kun’s Ordinary Days would fit the bill, while exploring a more straightforward high school romance story.

For viewers that are more interested in the role of fake personas in relationships, Tamon’s B-Side takes the story out of the high school setting and into idol fandom.

And if you want to flip the script for a “reverse harem” and like a little supernatural twist, Witch Watch can’t be beat for humor, pacing and the ultimate wacky heroine.

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REFLECTION QUESTIONS FOR PSEUDO HAREM

• Does Rin’s “pseudo harem” help her or hinder her in getting closer to Eiji? In what way does it do one or the other of these?

• Have you ever tried to be someone else with a person you have a crush on? was that successful or not?

• How far is it ok to hide your feelings and personality?

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SOURCE MATERIAL AND ANIME PRODUCTION

From Wikipedia: Pseudo Harem

MANGA

Pseudo Harem, also known as Giji Harem (Japanese: 疑似ハーレム, Hepburn: Giji Hāremu), is a Japanese manga series written and illustrated by Yū Saitō. It was posted as a webcomic on Saitō's Twitter account from June 2018 to March 2021, and was later parallelly serialized in Shogakukan's Monthly Shōnen Sunday from January 2019 to March 2021, with its chapters collected into six tankōbon volumes.

ANIME

An anime television series adaptation was announced on April 10, 2023. It is produced by Nomad and directed by Toshihiro Kikuchi, with Yūko Kakihara handling series scripts, Yoshihisa Sato designing the characters, and Takeshi Watanabe composing the music, with Pony Canyon credited for music production. The series aired from July 5 to September 20, 2024, on Tokyo MX and other networks. Crunchyroll streamed the series. Medialink licensed the series in East and Southeast Asia for streaming on Ani-One Asia's YouTube channel.

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The Window Seat Anime Journal was created to provide a "book club" experience for anime content by introducing people to new anime and providing a forum for the deeper thematic exploration that all great anime truly deserve.

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Happy anime watching!

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