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6/30/2025, 6:53:24 PM
Fluminense is a small club
The fact you beat a terrible Boca team that fluked their way into a copalib final doesn't make you a big team.
The fact you beat a terrible Boca team that fluked their way into a copalib final doesn't make you a big team.
6/28/2025, 7:00:28 PM
Okay. The TV anime sucked. Firstly, the characterization was weak, with side characters like Sucy and Lotte reduced to one-note quirks (mushrooms, passivity). Akko’s underdog arc was central, but her friends, including Constanze and the green team, were underutilized, often serving as props. Diana’s arc in episodes 19-20 was a standout, but she needed more screentime. The OVAs and Terio manga gave these characters more depth, making their TV portrayals feel like a downgrade.
The writing and plot were major pain points. The shift to a continuous story was seen as a mistake, with a rushed, overcrowded second half juggling the Words quest, Croix’s villainy, and magic’s decline. Critics preferred episodic misadventures or short arcs like the OVAs, which captured a whimsical, Saturday-morning vibe. Croix was criticized as an edgy, unfitting villain, with her app-driven Dark Rod and riot subplot feeling absurd. Ursula’s failure to warn Akko about Croix and Akko’s illogical trust in her were seen as poorly justified, undermining their characters.
Pacing was another flaw, with a slow first half full of filler and a chaotic second half that didn’t let plot threads breathe. The “magic is dying” theme and Words quest were introduced too late or inconsistently, missing a chance to tie into Diana and Ursula’s stories. Akko’s glacial progress, repetitive failures, and shift from a bold OVA pyromancer to a one-trick shapeshifter were frustrating, making her seem unfit for Luna Nova.
Worldbuilding was inconsistent, breaking immersion with illogical moments like a magic-dismissing rich guy using a wormhole or fairies striking despite needing magic to survive. Trigger’s pacing and plot construction were shit, frankly. Sure, the animation and select episodes were cool, but the TV anime wasted potential, straying from the OVAs’ charm.
The writing and plot were major pain points. The shift to a continuous story was seen as a mistake, with a rushed, overcrowded second half juggling the Words quest, Croix’s villainy, and magic’s decline. Critics preferred episodic misadventures or short arcs like the OVAs, which captured a whimsical, Saturday-morning vibe. Croix was criticized as an edgy, unfitting villain, with her app-driven Dark Rod and riot subplot feeling absurd. Ursula’s failure to warn Akko about Croix and Akko’s illogical trust in her were seen as poorly justified, undermining their characters.
Pacing was another flaw, with a slow first half full of filler and a chaotic second half that didn’t let plot threads breathe. The “magic is dying” theme and Words quest were introduced too late or inconsistently, missing a chance to tie into Diana and Ursula’s stories. Akko’s glacial progress, repetitive failures, and shift from a bold OVA pyromancer to a one-trick shapeshifter were frustrating, making her seem unfit for Luna Nova.
Worldbuilding was inconsistent, breaking immersion with illogical moments like a magic-dismissing rich guy using a wormhole or fairies striking despite needing magic to survive. Trigger’s pacing and plot construction were shit, frankly. Sure, the animation and select episodes were cool, but the TV anime wasted potential, straying from the OVAs’ charm.
6/16/2025, 7:51:31 PM
Reminder to stop wishing for a Misaki to knock on your door.
At its heart, Welcome to the NHK is a brutal exploration of hikikomori life, mental illness, and the struggle to break free from self-imposed isolation. Satou, a 22-year-old shut-in, starts the story trapped in a cycle of paranoia, shame, and escapism, blaming external "conspiracies" like the NHK (Nihon Hikikomori Kyokai, in his delusions) for his stagnation. His arc, across both the anime and manga, is about confronting his own agency (or lack thereof) and taking halting, imperfect steps toward change.
The key to Satou’s growth is that it’s self-initiated, even if spurred by external pressures. The story doesn’t glorify passivity or external saviors; it shows that real change comes from within, often through pain and necessity. Satou’s moments of progress (whether it’s attempting to create a Galge with Yamazaki, confronting his internet addiction, or eventually seeking a job) stem from his own decisions, however reluctant or flawed. The narrative repeatedly hammers home that no one else can "fix" him, and leaning on others, like Misaki, often perpetuates his problems rather than solving them.
At its heart, Welcome to the NHK is a brutal exploration of hikikomori life, mental illness, and the struggle to break free from self-imposed isolation. Satou, a 22-year-old shut-in, starts the story trapped in a cycle of paranoia, shame, and escapism, blaming external "conspiracies" like the NHK (Nihon Hikikomori Kyokai, in his delusions) for his stagnation. His arc, across both the anime and manga, is about confronting his own agency (or lack thereof) and taking halting, imperfect steps toward change.
The key to Satou’s growth is that it’s self-initiated, even if spurred by external pressures. The story doesn’t glorify passivity or external saviors; it shows that real change comes from within, often through pain and necessity. Satou’s moments of progress (whether it’s attempting to create a Galge with Yamazaki, confronting his internet addiction, or eventually seeking a job) stem from his own decisions, however reluctant or flawed. The narrative repeatedly hammers home that no one else can "fix" him, and leaning on others, like Misaki, often perpetuates his problems rather than solving them.
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