Tag Archives: isekai

Anime You Should Be Watching: Saga of Tanya the Evil (Yōjo Senki)

Posted on by Arleigh

“I’m afraid, sir, I don’t believe God loves me at all.” — Tanya Degurechaff

Saga of Tanya the Evil (Yōjo Senki) sounds like a gimmick until its strange ingredients start working together. A ruthless Japanese salaryman gets reincarnated as a little girl, joins the military in an alternate European world, and ends up fighting a war involving rifles, artillery, and airborne magic. Somehow, this becomes both an entertaining action series and a nasty joke about corporate ambition. Across its two seasons and full-length film, the central irony never loses its bite: Tanya wants security, but everything she does to earn it makes her more useful on the battlefield. Being exceptional turns out to be a terrible career move.

It also stands out as one of the better isekai properties because reincarnation actually matters to the story. Where much of the genre uses another world as a shortcut to wish fulfillment, Saga of Tanya the Evil turns a second life into an argument about identity, faith, and survival. Tanya’s previous existence is not background information discarded after the opening episode. Her corporate mindset shapes her decisions, while her confrontation with Being X gives her new life a personal conflict. Remove the reincarnation premise, and you lose the machinery that makes the series interesting.

Adapted from Carlo Zen’s light novel series The Saga of Tanya the Evil, illustrated by Shinobu Shinotsuki, the anime began with a twelve-episode season in 2017. Saga of Tanya the Evil: The Movie followed in 2019, continuing the story rather than offering a disposable side adventure. The second season, Saga of Tanya the Evil II, followed in 2026. The viewing order is straightforward: first season, movie, second season. Together, they expand one soldier’s survival scheme into a wider examination of a war that keeps growing beyond anyone’s control.

The salaryman’s new identity is Tanya Degurechaff, an orphaned girl living in the Empire, an alternate-world counterpart to Imperial Germany. Instead of a familiar fantasy kingdom, her new home resembles early twentieth-century Europe, where a World War I–style conflict unfolds in the 1920s and magic has been incorporated into military operations. Trenches, artillery, and bureaucratic command structures exist alongside flying soldiers who turn magical ability into another weapon of industrial warfare. The setting gives Tanya a system she thinks she understands and a conflict she cannot simply outsmart.

At heart, Tanya is pretty much a black-hearted upper-management executive reincarnated into the body of a young girl. The new appearance does not come with a softer personality or a sudden appreciation for human connection. Behind that small face is the same calculating adult who judges people by productivity, obedience, and usefulness. She approaches military service like a corporate ladder, hoping excellent performance will earn her a comfortable position away from danger. The contrast goes beyond appearances: she brings the cold logic of the boardroom into a world where a bad performance review can become a death sentence.

Crucially, the series does not try to sell Tanya as a hero. She is the protagonist, absolutely, but being the person whose story we follow does not make her morally admirable. If anything, her ruthlessness, manipulation, and willingness to treat people as expendable give her more villainous traits than heroic ones. The writing’s real achievement is making us root for her without hiding those red flags. We understand her goals, enjoy her ingenuity, and want to see how she escapes the next impossible situation, even when her methods make us uncomfortable. The series earns our investment without requiring our approval.

The first season establishes where that personality comes from. Before reincarnation, the salaryman was an efficiency-obsessed manager whose treatment of a fired employee ended with that employee murdering him. A confrontation with a self-proclaimed god, whom he labels Being X, turns death into an argument about faith. Being X apparently believes hardship will produce religious devotion; Tanya treats the arrangement like an unfair workplace dispute. It is a wonderfully petty foundation for such a violent story. Neither side seems interested in understanding the other, and ordinary people get caught inside their cosmic disagreement.

Tanya’s career supplies another layer of comedy. Her logic is recognizable: work hard, impress management, secure a comfortable position. Unfortunately, her superiors interpret every achievement as evidence that she belongs somewhere more dangerous. The military sees a dedicated prodigy where Tanya sees an employee trying to qualify for a better assignment. That gap between intention and reputation keeps the story entertaining while exposing her biggest blind spot. She can calculate battlefield risks with frightening precision and still misjudge how other people will interpret her behavior.

Unlike many isekai protagonists, Tanya does not arrive with modern knowledge and coast toward a better life. Her experience gives her advantages, but it also reinforces her limitations. She expects rational behavior to produce rational outcomes, even when the people around her operate through patriotism, fear, ambition, or wounded pride. Watching someone who considers herself exceptionally practical repeatedly misread the human side of her situation is darkly funny. Her old worldview survives reincarnation intact; the new world keeps demonstrating why it was never as foolproof as she believed.

Season one also makes its military structure matter. Promotions, command decisions, and strategic misunderstandings shape what Tanya can accomplish. The aerial mage battles provide immediate excitement, but the larger attraction is watching individual cleverness collide with a huge organization. Briefings occasionally slow the momentum, particularly when another stretch of terminology separates the audience from the next confrontation. Still, that administrative texture belongs here. Without it, Tanya’s managerial personality would have much less to push against, and the series would become a more ordinary superpowered-warrior story.

Visually, the anime embraces an abrasive personality. Tanya’s exaggerated expressions make her look less like an adorable mascot than a miniature officer whose customer-service smile has completely collapsed. Some character designs take getting used to, but the battlefield presentation is easier to appreciate. Airborne movement, magical attacks, and conventional weapons create an energetic mixture, while gunfire and explosions give the combat physical weight. Beneath the ridiculous premise, the fighting needs to feel dangerous, and the production generally understands that assignment.

Saga of Tanya the Evil: The Movie takes that foundation and pushes the spectacle harder. It functions as a direct continuation, so newcomers should not expect a patient introduction. Its strongest dramatic addition is Mary, the daughter of a man Tanya killed. Her hatred gives the conflict a personal dimension that military reports cannot contain. Tanya understands killing through operational necessity; Mary experiences its aftermath as grief and revenge. That contrast punctures the comfortable distance created by Tanya’s narration. What looks like another successful operation from her perspective can be a life-shattering tragedy from someone else’s.

The movie’s climactic confrontation provides an especially strong action showcase, although the road there can feel crowded. Characters and military developments compete for attention, and dialogue sometimes interrupts battles that already communicate their stakes. The film works better as the next substantial chapter than as an independent feature. Still, Mary’s furious directness makes a useful counterweight to Tanya’s calculations. Their conflict sharpens the distinction between following Tanya and endorsing her: we may want her to survive, but the story gives us reasons to understand why someone else desperately wants her stopped.

The second season shifts attention toward Tanya’s Salamander combat group and the increasingly punishing demands of the Eastern Front. Shortages, winter, guerrilla attacks, and repeated operations complicate the promise that one brilliant maneuver might solve everything. Season one establishes why Tanya excels at fighting; the continuation asks what that excellence is worth when the larger conflict resists a clean solution. Training a new unit also returns to an enjoyable tension: Tanya treats people as organizational components while remaining responsible for keeping them functional. Her managerial instincts help, but they cannot make the battlefield behave like a well-run department.

That broader scope brings a trade-off. Peace efforts involving neutral Ildoa and competing priorities within Imperial leadership deepen the political picture but make the story less immediately accessible than its original survival hook. Enjoyment increasingly depends on an appetite for logistics, negotiations, and the gap between tactical success and strategic progress. For the right audience, that is an upgrade. Tanya becomes trapped within institutions that reward effective violence without knowing how to stop needing it. Another battlefield victory does not necessarily bring her closer to peace.

Taken together, the two seasons and film offer dark comedy, military fantasy, and a central character who is fascinating precisely because she is not a conventional hero. The franchise can be talky, its designs can be off-putting, and Tanya’s behavior frequently deserves condemnation rather than applause. Yet the writing keeps us invested in her struggle without pretending those problems disappear because she gets top billing. For viewers new to anime, Saga of Tanya the Evildeserves a place on their must-see list, especially if dark humor, military strategy, and morally complicated protagonists sound appealing. It makes excellent use of its reincarnation premise and turns an alarming collection of red flags into someone we cannot stop watching.

Anime You Should Be Watching

Anime You Should Be Watching: How a Realist Hero Rebuilt the Kingdom (Genjitsu Shugi Yūsha no Ōkoku Saikenki)

Posted on by Arleigh

“The king to be sought during times of upheaval is not a saint, but a survivor, who is tenacious.” — Kazuya Souma

How a Realist Hero Rebuilt the Kingdom is one of those isekai anime that flips the script in the best way possible, and it’s a breath of fresh air in a genre that often feels like it’s running on autopilot. Instead of the usual power fantasy where the protagonist gets godlike abilities and smashes through hordes of enemies, this series drops its lead into a medieval kingdom and says, hey, how about you actually run this place? And that’s exactly what makes it so compelling. It’s less about magic swords and dragon slaying, and more about tax reform, infrastructure projects, and international diplomacy. Yeah, it sounds dry when you put it like that, but trust me, it’s anything but boring.

The story kicks off with Kazuya Souma, your average university student with a knack for history and a particular obsession with the Civilization video game series. One day, he’s summoned to the fantasy world of Elfrieden—not as a hero to save the world from a demon king, but as a consultant to help a struggling queen turn her kingdom around. The previous hero they summoned bailed after a few months, leaving the kingdom in worse shape than before. Souma, being the practical guy he is, decides to stick around and actually tackle the problems head-on. No overpowered cheat skills, no harem of adoring fans from day one, just a guy with a modern education trying to apply real-world logic to a medieval society. It’s a premise that sounds simple, but the execution is what makes it shine.

What really sets Souma apart from your typical isekai protagonist is his mindset. He’s not out to prove he’s the strongest or to collect a bunch of waifus (though, let’s be real, a few do end up in his orbit). He’s legitimately trying to fix a broken system. He introduces concepts like paper money, a postal system, and even a form of democracy, all while navigating the political minefield of a world where nobles would rather cling to tradition than admit they might need to change. The way he outmaneuvers his opponents isn’t with flashy spells or brute strength, but with economics, psychology, and good old-fashioned negotiation. Watching him turn a kingdom on the brink of collapse into a thriving nation is oddly satisfying, like binge-watching a really good business documentary, but with more elves and magic.

The supporting cast is just as strong as the protagonist. Queen Lisha starts off as a naive young ruler who’s in over her head, but her growth throughout the series is fantastic to watch. She goes from being a symbol of hope with no real power to a shrewd leader in her own right, learning from Souma’s strategies and gradually taking more control. Then there’s Prime Minister Halbert, the grizzled veteran who’s initially skeptical of Souma’s unconventional methods but slowly comes to respect him. The dynamic between these characters feels genuine, and their interactions are some of the highlights of the series. Even the antagonists aren’t just mustache-twirling villains; they’re people with their own motivations and reasons for resisting change, which makes the conflicts feel more nuanced.

The world-building in How a Realist Hero Rebuilt the Kingdom is another standout feature. Elfrieden isn’t just a generic fantasy kingdom; it’s a place with a rich history, complex social structures, and a variety of cultures. The series does a great job of making the world feel lived-in, from the political tensions between the human kingdom and its neighboring nations to the way magic is integrated into daily life. Unlike a lot of isekai where magic is just a tool for combat, here it’s treated as a natural part of the world that has real economic and social implications. For example, the kingdom’s reliance on slave labor is tied to the fact that certain magical races can only reproduce in specific conditions, which creates a weirdly logical justification for an otherwise dark practice. It’s details like this that make the world feel deeper and more thought-out than your average fantasy setting.

One of the most refreshing things about this anime is how it handles its themes. It’s not afraid to tackle heavy topics like class inequality, systemic corruption, and the ethics of governance. Souma isn’t some infallible genius who always makes the right call; he makes mistakes, faces setbacks, and sometimes has to compromise his ideals for the greater good. There’s a great episode where he has to decide whether to abolish slavery immediately or phase it out gradually, knowing that moving too fast could destabilize the economy and cause more harm than good. It’s a morally gray situation, and the series doesn’t shy away from showing the consequences of his choices. This kind of depth is rare in the isekai genre, where the protagonist’s decisions are usually framed as unambiguously right.

The animation by J.C.Staff is solid, though not exactly groundbreaking. The character designs are clean and distinct, and the backgrounds are detailed enough to sell the fantasy setting. The real star of the visual presentation, though, is the way the series uses its art to emphasize the themes. For example, the contrast between the rundown, impoverished parts of the kingdom and the opulent palaces of the nobility is stark and deliberate, reinforcing the social inequalities Souma is trying to address. The action scenes, while not as frequent as in other isekai, are well-choreographed and serve their purpose without feeling out of place in a story that’s more about politics than combat.

If I had to nitpick, the pacing can be a little uneven at times. The first season does a great job of setting up the world and the characters, but there are moments where it feels like the story is spinning its wheels, especially in the middle episodes. Some of the political maneuvering can also get a bit dense, and if you’re not into the whole nation-building aspect, it might feel slow. That said, the payoff is usually worth it. The moments where Souma’s plans come together are incredibly satisfying, and the character development is consistently strong throughout.

Another thing worth mentioning is how the series handles its source material. How a Realist Hero Rebuilt the Kingdom is based on a light novel series by Dojyomaru, and the anime adaptation does a pretty faithful job of bringing the story to life. There are, of course, some cuts and changes to fit the runtime, but nothing that feels egregious or out of place. If you enjoy the anime, the light novels are definitely worth checking out, as they go into even more detail about the world and the characters’ thoughts and motivations.

So, who is this anime for? If you’re a fan of isekai but tired of the same old power fantasy tropes, this is a must-watch. It’s also a great pick if you enjoy stories about politics, strategy, and world-building. That said, if you’re looking for non-stop action or a more traditional adventure narrative, you might find it a little slow. But if you’re willing to engage with its themes and appreciate a protagonist who wins with brains rather than brawn, How a Realist Hero Rebuilt the Kingdom is an absolute gem. It’s smart, thought-provoking, and surprisingly addictive, like a fantasy version of The West Wing with more dragons. And honestly, in a sea of isekai that often feel interchangeable, that’s more than enough to make it stand out.

Anime You Should Be Watching

AMV of the Day: Legion of Monsters (Gēto: Jieitai Kano Chi nite, Kaku Tatakaeri)

Posted on by Arleigh

The “Legion of Monsters” AMV by KamikadzeAMVs absolutely rips, fusing Disturbed’s pounding, battle-ready sound with Gate’s modern-vs-fantasy spectacle. From the jump, the track’s aggressive rhythm locks perfectly with the visuals—gunships roaring overhead, tanks rolling through medieval battle lines, and dragons getting met with missile fire. The editing rides the music’s intensity, slamming into every beat drop and chorus so that each explosion and charge feels bigger, louder, and almost mythic in scale.

What really stands out is how the AMV frames the JSDF as an unstoppable force of nature. KamikadzeAMVs leans hard into the contrast between modern military precision and the chaos of a fantasy battlefield, turning every artillery strike and aerial assault into a show of overwhelming dominance. The pacing keeps escalating, building this sense that once the Gate opens, there’s no turning back—the modern world doesn’t just enter, it takes over.

At the same time, the title “Legion of Monsters” starts to shift in meaning as the video unfolds. At first, it points toward the creatures of the Special Region—dragons, armies, the unknown—but as the destruction ramps up, the label becomes ambiguous. The JSDF, with their advanced weapons and calculated tactics, begin to feel just as monstrous in their own right. By syncing the heaviest moments of the track with scenes of modern warfare tearing through a fantasy world, the AMV creates this hype-fueled tension where both sides embody the idea of “monsters,” making the spectacle feel even more intense and layered.

Song: Legion of Monsters by Disturbed

Anime: Gate (Gēto: Jieitai Kano Chi nite, Kaku Tatakaeri)

Creator: KamikadzeAMV

Past AMVs of the Day

Anime You Should Be Watching: That Time I Got Reincarnated as a Slime (Tensei Shitara Suraimu Datta Ken)

Posted on by Arleigh

“If I happen to die because of this, get rid of my PC.” — Satoru Mikami

That Time I Got Reincarnated as a Slime (Tensei Shitara Suraimu Datta Ken or just Tensura) is one of those anime that sounds ridiculous until you actually watch it—and then it wins you over completely. At first glance, it looks like just another overpowered-protagonist isekai: an average guy dies, wakes up in a fantasy world, and immediately breaks every rule of balance by becoming borderline divine. But the secret of Slime is that it plays the genre cliché knowingly, twists it in clever ways, and wraps it around a surprisingly heartfelt story about kindness, leadership, and how to build a community from the ground up. Adapted from the smash-hit light novel series by Fuse, this anime manages to blend humor, politics, action, and emotional sincerity into something both epic and easy to love.

The plot starts simply enough. Satoru Mikami, a 37-year-old office worker in Tokyo, leads an unremarkable life—no family, no glory, just gray daily routine. When he’s stabbed while saving a coworker from an attack, his story seems over. But in those final moments, a disembodied voice (which fans will come to know as the “Great Sage”) grants him strange abilities based on his dying wishes—resist pain, store knowledge, devour anything—and rebirths him in another world. Only there’s a catch: he’s not reborn as a mighty warrior or a handsome prince—he’s a slime. A small, bouncy, blue blob.

And that’s the brilliance of Slime. Right from the start, it refuses to take itself too seriously. Satoru—now officially calling himself Rimuru Tempest—reacts to his new form with more curiosity than despair. He experiments with his strange “Predator” skill, realizing he can absorb monsters, materials, and abilities. What could have been a story about survival quickly becomes something much more strategic and creative. Rimuru uses his curiosity and intelligence—his distinctly human mindset—to adapt and thrive. Rather than treating this world like his personal video game playground, he studies how it works, learns its rules, and decides to reshape it with compassion instead of domination.

The premise is standard isekai dressing, but the execution sets it apart. Instead of endless dungeon fights or brooding antiheroes, Rimuru’s first big win is domestic: helping a desperate goblin tribe survive by organizing them into an early community. That act of leadership kickstarts the show’s core theme—world-building not just in the literal sense, but in the moral one. Rimuru’s journey isn’t just “how strong can I get?” It’s “how can I make life better for everyone who trusts me?”

Season 1 captures this beautifully. It’s full of warmth, humor, and charm, balancing genuine emotional stakes with endlessly creative fantasy world-building. Each new episode adds another layer: goblins evolve, wolves unite, ogres become loyal allies, and soon Rimuru’s little settlement turns into the thriving “Tempest Federation.” Watching this society grow feels oddly satisfying—like SimCity mixed with The Lord of the Rings. Rimuru’s mix of modern knowledge and genuine empathy makes him an ideal leader, not because he’s undefeatable, but because he listens. And yes, he is overpowered—but his strength never alienates him from others. Instead, it’s his compassion that keeps everyone orbiting around him.

Then Season 2 hits, and that’s where Slime surprises anyone who thought it was just a feel-good story. Without spoiling any major turns, the narrative expands dramatically, weaving in politics, moral conflict, and real emotional stakes. We see the pressures that come with leadership—and that building a nation means dealing with jealousy, greed, and betrayal from other powers. Rimuru faces choices that test his entire philosophy: when kindness clashes with survival, which wins? It’s during this stretch that Slime truly proves it’s not all fluff. It’s not afraid to explore tragedy, anger, and questions of responsibility while still maintaining that core optimism. The emotional moments hit harder precisely because the first season was so upbeat—when darkness strikes, it matters.

By Season 3, the show evolves from a fun fantasy romp into full-blown epic world-building. The stage grows larger as Tempest becomes recognized as a power equal to human nations and even the Demon Lords themselves. The scale of the story starts to echo grand political and military dramas, yet Slime never loses its charm or humor. New characters arrive, alliances form, and the world Fuse created in the light novels starts unfolding in earnest, rich with lore and history. The storytelling becomes more intricate, drawing on themes of diplomacy, governance, and the tension between peace and power. Rimuru, now balancing the weight of nations, remains empathetic, even as he stands toe-to-toe with gods and demons. The anime’s pacing gets sharper in these seasons—the stakes feel higher, but every step still connects back to Rimuru’s original dream of coexistence.

What’s striking is how Slime manages to mature without losing its brightness. Other isekai get darker as they grow “serious,” but Slime earns that depth while keeping its warm soul intact. You still get the lovable banter, the laugh-out-loud humor, and the chaotic cooking incidents with Shion’s questionable meals—but now those lighthearted scenes are contrasted by moments of real tension, making the highs and lows hit harder. It’s a tonal balance most anime fumble, but this one handles gracefully.

Credit where it’s due: Studio Eight Bit deserves massive praise for consistency. Across multiple seasons, the animation remains vibrant, colorful, and fluid. Rimuru’s slime form has this elastic motion that never stops being oddly satisfying to watch, while the battle choreography builds steadily in intensity. The later large-scale fights—especially those involving entire armies—carry real cinematic weight, made possible by polished direction and careful scaling of power levels. And yet, some of the most memorable sequences aren’t the battles at all—they’re moments of world expansion, where the show slows down to reveal a new nation, a festival, or a simple shared meal. The world feels tangible, lived-in, and surprisingly peaceful when it needs to be.

The voice acting is equally excellent. Miho Okasaki’s performance as Rimuru captures the rare balance of leadership and levity—cool-headed yet warm, curious yet confident. Other standouts like M.A.O. as Shion and Makoto Furukawa as Benimaru bring distinctive energy to their roles, adding emotion even to comedic exchanges. The soundtrack enhances everything—rousing orchestral pieces for the grand battles, gentle piano and flute motifs for Tempest’s everyday life. The music, like the story itself, isn’t just about big moments; it’s there to remind you of what’s worth protecting.

Where the series really shines, though, is in how it redefines heroism. Rimuru isn’t a lone knight, a destined savior, or a man on a revenge mission. He’s a builder. He wins through collaboration, understanding, and logic as much as through magic or might. That makes him one of the most endearing protagonists in contemporary anime—a soft-spoken optimist who’d rather talk his way to peace than fight needlessly, but who won’t hesitate to defend what matters when push comes to shove. His brand of leadership feels quietly revolutionary, showing strength through empathy rather than ego. That’s the underlying hook of Slime: it’s power fantasy done with heart.

Supporting characters thrive within that dynamic. Shion’s unfiltered enthusiasm, Benimaru’s steady confidence, Shuna’s intelligence and warmth—each plays a vivid role in making Tempest feel like a real, breathing community. Even the side characters grow, gaining new depth as the seasons roll on. By the time you reach Season 3, the relationships built from earlier episodes pay off emotionally. Tempest doesn’t just survive because Rimuru’s strong—it endures because everyone around him shares his vision.

And just when it feels like the story has covered everything, the best news arrives: there’s much more coming. A massive fourth season has already been announced, set to include 60-plus episodes—one of the largest season plans in recent anime memory. This next arc is expected to dive deep into the light novels’ later storylines, some of the most complex and thematically rich in Fuse’s entire saga. Fans can expect broader conflicts, new continents, cosmic-level stakes, and a deeper dive into the philosophical questions the anime hints at. If Seasons 1 through 3 show Rimuru learning how to rule, Season 4 promises to show what it truly means—to lead, to balance ideals and pragmatism, and to face the cost of utopia head-on.

What’s most exciting is that the groundwork is already there. The anime’s consistent quality, expanding world, and loyal fanbase suggest that these upcoming arcs could elevate it into one of the great long-form fantasy anime—something closer to a serialized epic than a simple adventure. It’s rare for an anime adaptation to not just match its light novel source material but to build upon it visually and emotionally, and Slime continues to do exactly that.

So, why call That Time I Got Reincarnated as a Slime a must-watch? Because it does what few modern fantasy anime manage—it believes in its own heart. It’s smart without being cynical, hopeful without being naive, and endlessly entertaining while still exploring meaningful ideas about leadership, identity, and what it means to build something lasting. Rimuru’s world might be made of magic and myth, but his struggles and principles feel deeply human. Every season expands that truth in new directions, and the best part is, the story isn’t even close to over.

Whether you’re a long-time anime fan or someone looking for a genuinely uplifting escape, this series is pure comfort with real depth—a rare blend of world-building, intelligence, and soul. If you’ve overlooked it before because of its funny title, now’s the perfect time to dive in. With a massive new season on the horizon and Rimuru’s journey only getting grander, That Time I Got Reincarnated as a Slime isn’t just an isekai success story—it’s growing into one of the defining fantasy epics of this generation.

Anime You Should Be Watching

4 Shots from 4 Anime: Isekai Edition

Posted on by Arleigh

Continuing my current focus on the isekai corner of the anime fandom I present four shots from four isekai anime series that is currently still airing with new seasons. All started out strong and gaining new fans.

Some have pointed out that the quality in later seasons have dipped for some, but those who invested their time to watch these series have stuck with the four series. With the dearth of mid to bad isekai series coming out year after year it’s just due time for the genre to go out with a whimper, but until that happens…“Isekai is dead! Long live the isekai!”

Overlord (Ōbārōdo) by Kugane Maruyama
The Rising of the Shield Hero (Tate no Yūsha no Nariagari) by Aneko Yusagi
That Time I Got Reincarnated as a Slime (Tensei Shitara Suraimu Datta Ken) by Fuse
The Eminence in Shadow (Kage no Jitsuryokusha ni Naritakute!) by Daisuke Aizawa

AMV of the Day: Eye of the Storm (Gate: Thus the Japanese Self-Defense Force Fought…)

Posted on by Arleigh

My latest pick for AMV of the Day comes courtesy of creator WarLuxAMVs with his editing work using scenes from the isekai series Gate: Thus the Japanese Self-Defense Force Fought… (a series that was profiled years ago as an anime recommendation).

It focuses heavily on the character Rory Mercury who, despite her appearance, turns out to be the most powerful character in the whole series and is also the source of much hijinks involving the main protagonist, Yoji Itami. As the videos shows, she’s quite bloodthirsty in equal amounts to being the gothic lolita type. She’s also quite adept at wielding her massive halberd with ease.

WarLuxAMVs does a very good job in syncing up the action scenes with the WattWhite song “Eye of the Storm” and if there’s one description that fits Rory Mercury when she’s going about her apostle duties then being the “eye of the storm” fits her like a black satin and lace glove.

Song: Eye of the Storm by WattWhite

Anime: Gate: Thus the Japanese Self-Defense Force Fought…

Creator: WarLuxAMVs

Past AMVs of the Day

Anime You Should Be Watching: Farming Life In Another World (Isekai Nonbiri Nouka)

Posted on by Arleigh

The last anime I recommended was the mature and very dark MONSTER. It’s time to lighten and chill things down a bit with my next recommendation. This series is one of my recent favorites that I’ve re-watched several times since the 12-episode season came out January 2024. The series I am talking about is Farming Life In Another World (Isekai Nonbiri Nouka).

The series is quite light-hearted and almost a fantasy version of farming life sims like Stardew Valley. Like many isekai (trans. another world), Farming Life In Another World is about a random person (usually from Japan) who has been transported to another world either through the mistake of some multiversal god/goddess or through the machinations of a certain truck-kun.

What or who is a truck-kun? Well, I’m glad you asked. Truck-kun is literally a truck that has become the go-to implement in sending a poor person from our would and into another by running them over while they are not looking. If there was ever a perfect example of why we should always look both ways before crossing the street it is that truck-kun is always out there lurking, waiting for the right time to pounce and claim another victim. Except, truck-kun wasn’t the culprit this time around but health problems from literally being overworked to death that sends out protagonist reincarnating to another world.

So, back to Farming Life In Another World, our protagonist has been accidentally taken to another world by God and apologizes to our main character for the unfortunate turn his life had taken by sending him to this new world. God’s generosity he asks Hikaru for one wish to make his life easier on this new world and Hikaru, in his past-life as an overworked, middle-aged office worker from Japan, asks for long-life and a chance to live a quiet and arboreal life this second time around. With his new found abilities and the Omnipotent Farming Tool to help fulfill Hikaru’s wish, God sends him off to this new world, dropping him off in the Forest of Death where Farming Life In Another World begins in earnest.

This anime is definitely one of the lighthearted ones with a bit of the fan-service thrown in to add to the comedic aspect of the story being told. Farming Life In Another World was adapted from the light novel of the same name by author Kinosuke Naito. The source material made more use of Hiraku’s endless stamina courtesy of God by having him literally sleep with every female that joins the village he ends up building in the middle of the Forest of Death. The anime lightens up on this aspect of the light novel and turns it into a running joke in that he gets nervous and tries to forget the fact that every female (from vampires, killer angels to all types of elves) want to have sex with him. The anime adaptation is the PG-version of what was a very raunchy light novel.

Yet, despite the apparent change in tone with the anime adaptation compared to the light novel source material, Farming Life In Another World does actually work as a slice-of-life comedy isekai. Fans of the light novel may cry that the changes from the sex comedy that was the light novel was too much of a change for fans who have never read the light novel will not miss anything. What they will get instead is a lighthearted series that eases new fans to anime into a new genre of the medium that has dominated the industry for the past decade or so.

Just like any adaptation of a written source material there will always be those who complain that the adaptation should be slavishly faithful to the original material. Yet, I always say that even if the adaptation has made drastic changes to the source material it doesn’t change the fact that the original still exists to be enjoyed. Sure, the ecchi and heavy fanservice of the light novel has been changed to be more PG-rated but it doesn’t detract from the fun and chill vibes of the anime version.

Farming Life In Another World works, in my opinion, because it does minimize the more raunchier side of the story to concentrate on the day-to-day and slice-of-life tone of the source material. The anime focuses on the world building and comedy side of Hiraku’s journey with his companions as they build what amounts to as an advanced and powerful village in the middle of what his new world considers the most dangerous area in the world. He does this with the help from Rurushi Ru (vampire mage) and Tia (angel aka the Annihilation Angel) who start off as frenemies but turn into close friends and friendly rivals (the show hinted at Hiraku marrying both which is a compromise the show makes to the source material).

Isekai is a genre in anime that has been very prevalent each new season for the past decade or so. Some would say that this genre has been the bane of the anime industry since we see knock-offs after knock-offs every year with most being bad (though some I would consider bad but enjoyable enough to be guilty pleasures). Yet, the genre has produced some of the best series in that same time frame. They’re not the majority, but they’re there enough in number to wash the taste of the awful ones.

Does Farming Life In Another World count as one of the best in genre? I say no, but it doesn’t have to be one of the best. It just had to be the best in what it had to be and that’s a slice-of-life comedy with some clever world building that would make any one who is a fan of sims games giddy. While we don’t get the raunchy and fanservice heavy anime adaptation of the light novel (if one wanted to know what such a version would look like I suggest they watch 1980’s sex comedies like Porky’s or Revenge of the Nerds).

Plus, the anime has a banger of an opening song.

“Flower Ring” by Shino Shimoji and Aya Suzaki

Faming Life In Another World Series Trailer

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